39 


liN    U.SK. 


^  !»E TERS'  HI  1  [IR()WE> 


PRIMER: 

RUDIMENTS  OF  MUSir, 

LCUIjATEiI  ElTIIETi   ^'M? 

I>]RTV      "Tl  :    '  iL^l  T I TIOIV, 


^rSZA.C3TlJl\  Cy 


CL^4.@fe£:s;- 


XEW   EDITION 


CZERNY'S  LETTERS  10  A  YOUNG  LADY. 


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LO 
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liOAKB  50  tta.     CLO . 

rBLISIIED   BY    DITBON   Ss  OO^ 

BOSTOfN,  MEW  TOBK.  AK3  S>  TTT.tPKI.yHIA. 


A  Few  Choice  GQlleGtiQns 


OF 


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iposers  as 
,ss  pieces, 
a  book  to 


to  afford 


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lit  still  for 
well  pro- 

bu^li  for  a 


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of  mui 

gcriptions.    Inquiries  as  to  books  cheerfully  answerea. 

Any  Book  Mailed  for  the  Retail  Price, 

OLIVER  DITSON  COMPANY,  BOSTON. 

C    H    DiTSON  &  Co.,  J-   E.  DiTSON  &  Co., 

867  Broadway,  New  York.  1228  Chestnut  St.,  Phila. 

Lyon  &  Healy,  Chicago. 


Collections 
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4  Hipe^Y  w  Mu^iaf * 


FROM  THE  CHRISTIAN  ERA  to  the  PRESENT  TIME, 

—BY — 

BB.  FEEDEEie  LOOTS  IITTEE. 


The  best,  and,  at  the  present  time  the  only  complete  and  practical 
description  of  the  rise  and  progress  of  music  during  the  last  2000 
years. 

There  have  been  other  and  erudite  books ;  but  this  is  the  only 
one  suited  to  the  reader,  the  teacher  and  the  student. 

It  is  a  book  of  524  pages,  with  12  chapters  and  an  introduction. 

The  Introduction  sketches  the  early  history  of  music,  or  what 
is  known  of  it,  for  2000  years  before  the  time  of  Christ,  showing  its 
probably  barbarous  character,  up  to  the  time  of  David  and  Solomon, 
and  its  gradual  improvement,  principally  by  Greek  methods,  dur- 
ing the  centuries  which  succeeded. 

Chapters  1  to  7  record  the  growth  of  Church  Music  through  the 
Ambrosian  and  Gregorian  peripds,  relate  the  story  of  Guido  and  the' 
Scale,  give  a  sketch  of  the  rise  of  the  Troubadour  and  the  Folk- 
songs, those  of  the  Flemish  school,  and  those  of  Germany,  Spain 
and  Italy.  We  read  of  Palestrino  and  his  works,  of  the  first 
Oratorios  and  Passion  Plays,  and  of  Protestant  Church  Music. 

Three  chapters  are  devoted  to  the  Opera  and  the  last  three  to 
Instrumental  Music. 


[  to  any  address  post  free,  for  $2.50. 

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BURRO^^^ES' 


PIANO-FORTE  PRIMER, 


CONTAINING  THE 


RUDIMENTS  OF  MUSIC. 


CALCULATED 


EITHER  FOR  PRIVATE  TUITION,  OR  TEACHING  IN  CLASSES. 


REVISED  AND  ENLARGED,  WITH  ADDITIONS  AND  ALTERATIONS, 
By    W.   C.   peters. 

Price  SO  Cents,  Net. 


PUBLISHED   BY  DITSON  &   CO, 

BOSTON,  NEW  TOEK,  AND  PHILADELPHIA. 


PUBLISHERS'  ADVERTISEMENT. 


In  presenting  "  Burrowes'  Primer"  in  a  new  dress,  revised, 
altered,  and  enlarged,  the  publishers  desire  to  state  the  motives 
which  have  induced  them  to  make  the  change  alluded  to. 

Numerous  requests  have  been  made  by  our  most  experienced 
teachers,  for  the  publication  of  a  Piano-Forte  Primer,  containing 
a  more  simple  and  lucid  explanation  of  the  first  principles  of 
music,  and  the  introduction  of  terms  by  which  the  length  of  notes, 
and  their  relative  value  to  each  other,  could  be  more  clearly  un- 
derstood. The  additions  in  the  two  first  chapters  have  been  made 
to  simplify  the  explanations  in  regard  to  the  Staff,  Clefs,  length 
and  value  of  notes,  &l'.  The  chapter  on  Time  has  been  remodelled, 
and,  it  is  hoped,  the  definitions  given  will  be  found  more  consonant 
with  the  latest  and  most  approved  method  of  teaching.  In  all 
other  respects  Burrowes  remains  unchanged. 

In  making  the  alteration,  Mr.  Peters  has  been  assisted  by  the 
judicious  advice  of  Messrs.  E.  W.  Gunter,  J.  B.  Smith,  G.  R.  Hoff- 
man, W.  Jucho,  John  Candy,  J.  C.  Cook,  F.  W.  RatUff,  J.  E. 
Jungman,  J.  C.  F.  Soloman,  Henry  Sofge,  H.  Kleber,  C.  H. 
Weber,  Paul  Schmidt,  J.  F.  Wahl,  and  many  other  distinguished 
Teachers  of  Music,  whose  kindness  is  hereby  acknowledged. 


Entered  accordinf?  to  the  Act  of  Congress,  in  the  year  1849,  by  Peters,  Webb  A  Co., 
in  the  Clerk's  Office  of  the  District  Court  of  the  United  States  for  the  District 
of  Kentucky. 


NEW  AND  REVISED  EDITION. 
With  Corrections  and  Additions  by  Wm.  Dressler. 


Entered  according  to  Act  of  Congress,  A.  D.  3869,  by  J.  L.  Peters,  in  the  Clerk's  Office 
of  the  United  States  District  Court  for  the  District  of  New  Jersey. 


? 


.Q,  cU-^'^ 


CONTENTS. 


OBAPllES 

I.  Of  the  Keys,  Staff,  &c., 

II.  Of  the  Length  of  Notes,  Rests,  &c.,      •       •       • 

III.  Of  Time, 

IV,  Of  the  Position  of  the  Haud,  Mid  Manner  of  Playing, 
V.  Of  Sharps,  Flats,  &c., 

"VI-  Of  Common  Characters  used  ki  Music, . 

VII.  Of  Gi-aces,  and  Common  Maxlcs  of  Expresiioa, 

VIII.  Of  Intervals, 

IX.  Of  the  Signature, 

X.  Of  the  Formation  of  the  Scale,       .       .       •       • 

XI.  Of  yarious  Characters  used  in  Music, 

XIL  Of  the  Common  Terms  relating  toffime,  &c.,      • 


T' 


&c 


7 

19 
16 
19 
21 
23 
20 
SO 
34 
35 
42 
45 


FiKST  Appendix. 

Exercises  to  Find  the  Keys  on  the  Piano,  and  their  use,     •       •       •       •  46  - 

Exercises  to  make  the  Turn  on  all  Notes, •       •      -  -47 

Exercises  of  Leading  Notes,  Fifths,  Major  and  Minor  thirds,     ,       •    ■    •  47 

Exercises  of  rel.  Minor  and  Major,  and  their  Leading  Notes,         •       •  48 

Exercises  of  the  Tetrachords,  ..-..*.•••  49 

Exercises  of  the  Formation  of  all  Major  Scales,       •        .        •        •        •  50 

Diatonic  or  Melodic  Minor  Scales, 62 

Exercises  of  Diatonic  Semitones,         .•••••••  56 

Examples  of  Fingering  the  Scales, 66 

Second  Appendix. 

Harmonic  Minor  Scale, 69 

Broken  Chords, .       €0,  64 

Arpeggios, .       •       •       .65,  67 

Abbreviations,    ..••* 68 

Licenses, 69 

Czkrny's  Letters  to  a  Youno  Lady  on  Piano-fortb 
Playing. 

UETTEK 

I.    On  the  First  Rudiments  of  the  Piano, TO 

II.    On  Touch,  Tone,  and  the  Mode  of  Treating  the  Piano-forte,      •  74 

III.  On  Time,  Subdivision  of  the  Notes,  and  Fingering,         ...  79 

IV.  On  Expression,  and  Graces  or  embellishments,    .        .        .        .83 
V.    On  the  Keys,  on  Studying  a  Piece,  and  on  Playing  in  presence 

of  others, .        ,  86 

VT.    On  the  Selection  of  Compositions  most  Suitable  for  eacn  Pianist,  90 

X.    On  Extemporaneous  Performance,         ••....  94 

3 


ivi289997 


PREFACE. 


Thk  rapid  sale  of  this  little  work,  and  the  flattering  approbation  wh^ck 
has  been  bestowed  upon  it  by  many  of  the  most  eminent  Professors,  hare 
given  great  satisfiaction  to  the  Author.  In  presenting  another  edition  to  the 
musical  world,  he  begs  to  repeat,  that  it  is  not  intended  to  interfere  with 
the  mode  of  instruction  which  any  Master  has  already  adopted,  but  to  be 
used  either  in  private  tuition  or  teaching  in  classes,  in  addition  to  the  regular 
lessons  already  in  use. 

The  Author  thinks  it  necessary  to  repeat,  that  he  does  not  offer  this  book 
AS  containing  anything  new;  yet  he  hopes  it  will  be  found  useful  in  explain- 
ing the  rudiments,  and  thereby  enabling  the  Master  to  devote  more  time 
to  other  important  branches  of  music. 

The  following  remarks,  although  certainly  superfluous  to  professors  in 
general,  he  hopes  will  not  be  thought  intrusive. 

The  principal  object  of  every  teacher  should  be,  to  make  his  pupils  thor- 
oughly comprehend  one  question  before  they  proceed  to  another;  for  this 
purpose  each  one  should  be  provided  with  a  music  slate,  upon  which,  after 
explanation,  the  teacher  should  wiite  an  exercise  drawn  from  the  questions 
or  the  Appendix,  leaving  the  blanks  to  be  filled  up  by  the  pupils. 

Every  exercise  should  be  repeated,  and  the  form  of  it  varied,  until  it  be 
done  without  a  mistake,  and  until  the  pupil  be  able  to  give  an  example 
npon  the  instrument,  or  answer  any  question,  whether  proposed  in  the 
regular  order  or  otherwise.  This  will  be  attended  with  a  little  troub'.e  to  the 
master  in  the  first  instance  only,  as  the  author  recommends  that  the  learners 
of  the  second  chapter  should  be  teachers  of  the  first;  and  this  should  be 
done  at  a  distant  part  of  the  room  in  which  the  master  is  giving  his  lessons 
at  the  piano-forte,  that  he  may,  by  way  of  keeping  up  the  attention  of  the 
icholars,  occasionally  inspect  their  Examples;  and  it  is  recommended  that 
A  examination  of  the  whole  school  should  take  place  at  stated  periods. 

Pupils  of  talent  to  be  removed  to  the  upper  classes  as  soon  as  the  mastv 

4 


PREFACE.  0 

Ends  fchem  qualified,  Without  waiting  for  those  who  are  less  rapid  in  their 
Improvement. 

The  Exercise  of  each  class  to  be  appointed  by  the  master.  They  may  b« 
selected  either  from  the  Primer,  or  by  making  the  pupils  explain  to  the 
teacher  the  lesson  about  to  be  played;  both  the  time  marked  and  manner 
of  counting  it  throughout,  pointing  out  those  notes  from  which  the  flngOTs 
are  to  be  raised,  those  notes  which  are  to  be  held  down,  the  reasons  2br 
the  fingering,  &c.,  ifcc. 

The  classes  to  be  held  only  during  the  time  the  master  is  giving  his  lesscmf 
At  the  piano-forte. 

The  younger  pupils  to  be  attended  at  their  daily  practice  by  one  of  thi 
elder  ones,  who  is  to  be  appointed  by  the  master. 

After  being  made  thoroughly  acquainted  with  the  contents  of  this  book, 
the  pupils  may  proceed  io  the  study  of  Harmony,  and  the  practic*  of  fik^j* 
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3.S« 


THE 


PIANO-FORTE    PRIMER. 


CHAPTER  I. 

OF  THE  KEYS,   STAFF,  ETC. 

How  are  the  keys  of  the  piano-forte  named  1 

From  the  first  seven  letters  of  the  alphabet.  Tha 
eighth,  or  octave,  is  a  repetition  of  the  first.  Example : 
A,  B,  C,  D,  E,  F,  G,  A,  B,  C,  etc. 

How  are  the  letters  applied  to  the  keys  1 

First,  by  observing  that  the  black  keys  are  divided 
into  groups  of  two  and  three.  D  is  between  the  two 
black  keys;  G  is  on  the  left,  and  A  on  the  right, 
between  the  three  black  ones. 

Describe  the  situation  of  the  others. 

C  is  on  the  left,  and  E  on  the  right  hand  side  of  D. 

F  is  on  the  left  of  G,  and  B  on  the  right  of  A. 

What  is  a  staff  ? 

A  staff  consists  of  five  lines  and  four  spaces,  upon 

which  the  notes  are  placed,  and  named  regularly  by 

degrees. 

The  five  lines  and  fonr  spaces  make  nine  degrees.  If  you  wish 
more  degrees,  how  are  they  formed  ? 

By  using  the  space  above  or  below  the  staff,  or  by 
making  short  lines  called  added  or  leger  lines,  on 
which,  or  the  spaces  between  or  above  them,  the  notei 
ftre  placed.  j* 


8  KEYS,   STAFF,  ETC. 

9d  ledger  space  t  bove  the  staft 

Id  ledger  line  above.    

2d  ledger  space  above  the  staC 

let  ledger  line  above.   

Ist  ledger  space  above  the  staif . 

9th  line. Q 

8  4th  spaoQ 

ttai  line. ^ 

6  8d  spM^. 

td  line. 

2d  line. 3 

2 
l8t  line. 1 


2d  space. 
1st  spacer 


Ist  ledger  space  below  the  staff. 
1st  ledger  line  below.    

2d  ledger  space  below  the  staff. 
2d  ledger  line  below.   

Sd  ledger  space  below  the  staff. 

How  many  staffs  are  in  general  use  ? 

Two :  the  treble  and  the  bass  staff. 

How  are  you  to  know  the  treble  staff  from  the  bass  staff  ? 

By  the  character  placed  at  the  beginning  of  each 
i*^aff  called  a  clef  or  key  to  the  names  of  the  notes. 
What  clef  is  generally  used  for  the  treble,  or  right  hand  1 


The  G  or  treble  clef;  viz., —  ^g 


What  clef  is  generally  used  for  the  bass,  or  left  hand  f 

The  F  or  bass  clef;  viz., —    (^ 

In  piano-forte  music  the  two  staffs 
are  joined  together  by  what  is  called  a 
brace;  thus, — 

Why  is  the  treble  clef  note  called  G  ? 

Because  the  note  placed  on  the  second  line  In  the 
treble  is  called  G,  or  the  treble  clef  note. 

How  are  the  names  of  the  other  treble  notes  named? 

They  are  named  from  the  clef  note,  proceeding  regth 
larly  by  .degrees,  both  upwards  and  downwards. 


KEYS,   STAFF,   ETC.  9 

^  As  the  note  on  the  second  line  in  the  treble  is  jaUed  G,  what 
will  be  the  name  of  a  note  in  the  second  space  ? 

If  the  note  on  the  second  line  in  the  treble  is  called 
G,  the  second  space  will  be  the  next  letter,  which  is 
A ;  the  third  line  B ;  the  third  space  C,  etc. 

Name  the  treble  notes  in  the  staff  upwards  and  downwards. 
Point  out  the  clef  note. 


cJ  E         FGA^         CDEF 

Why  is  the  bass  clef  note  called  F 1 

Because  the  note  placed  on  the  fourth  line  in  the 
bass  is  called  F,  or  the  bass  clef  note. 

How  are  the  names  of  the  other  notes  determined  1 

In  the  same  manner  as  the  treble  notes;  viz.,  from 
the  clef  note,  both  upwards  and  downwards. 

As  the  note  on  the  fourth  line  in  the  bass  is  called  F,  what  will 
be  the  name  of  a  note  in  the  fourth  space  ? 

If  the  note  on  the  fourth  line  in  the  bass  is  called  F, 
the  fourth  space  will  be  the  next  letter,  which  is  G ; 
»;he  fifth  line,  A  ;  above  the  staff,  B,  etc. 

Name  the  bass  notes  in  the  staff  upwards  and  downwards. 


m 


GAB         CDEFGA 
Describe  the  situation  of  the  following  notes. 

^    _«_    z!^    —    Iir      F       E       D        C       B  ^ 

.    IP "^"  — 

""b     c     d      e     f      g     ^    -^-  -V-  z^  — "" 

The  pupil  should  give  a  clear  description,  and  tell 
the  name  of  each  note  in  the  treble  and  bass  clefs. 

Name  the  treble  notes,  upwards  and  downwards,  beginning  with 
the  clef  note. 


10 


LENGTH  OP  NOTES,  BESTS,  ETC. 


Name  the  bass  notes,  upwards  and  downwards,  beginning  with 
the  clef  note.  _ 


W 


How  do  you  determine  the  situation  of  the  clef  notes  on  the 
piano-forte  1 

First,  by  finding  fclie  C  which  is  nearest  to  the  middle 
of  the  instrument,  called  middle  C ;  the  G,  or  treble 
clef  note,  is  the  first  G  above,  or  on  the  right  hand  side 
of  it ;  the  F,  or  bass  clef  note,  is  the  first  F  below,  or 
on  the  left  hand  side  of  middle  C. 

How  are  the  situations  of  the  other  notes  determined  ? 

By  going  to  the  right  for  those  above,  and  to  the 
left  for  those  below  the  clef  notes. 

Give  an  exercise  for  naming  and  striking  some  treble  and  bast 
notes. 


CHAPTER  11. 

OF  THE   LENGTH   OP  NOTES,   RESTS,   ETC. 
How  many  different  sorts  of  notes  are  in  general  u«e  1 

Six. 

Describe  and  show  their  different  forms. 


i 


ir2- 


* 


Bemilweve.       Minim.  Crotchet.        Qaaver.    Semiqcayer.  DemisemlquaTei. 


ETC. 


11 


What  proportion  do  they  bear  to  each  other  1 

Each  note  is  only  half  the  length  of  the  one  preceding ; 
for  example,  a  minim  is  only  half  the  length  of  a  semi- 
breve;  consequently,  one  semibreve  is  as  long  as  two 
minims. 

Suppose  you  should  wish  to  know  how  many  semiquavers  are 
equal  to  a  semibreve  or  minim,  in  what  manner  will  you  reckon 
them  « 

By  beginning  from  any  one,  and  proceeding  in  rota- 
tion, always  doubling  the  number;  for  example,  one 
crotchet  is  as  long  as  two  quavers,  four  semiquavers,  or 
eight  demisemiquavers. 

Repeat  the  general  tablt  of  &e  value  of  notes  I  S 


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Name  the  half,  the  fourth,  the  eighth,  the  lixteenth  of  a  leml' 
%r©v©;  of  a  minim;  crotchet;  quaver,  etc 

What  are  rests  1 

Marks  for  silence,  corresponding  with  the  different 
notes. 

Describe  and  show  them. 


SemibrevA 
Rest, 

Minim. 

Crotchet. 

Quaver, 

Semiquaver. 

Demis^mi- 
quaver. 

u, 

3 ' 

__p.or_i^_ 

. 5^ 

— ^ — 

*\ 

Under  a 
line. 

Over  a 
line. 

Turned  to 
the  right. 

Turned  to 
the  left. 

With  two 
heads. 

With  three 
headi. 

•  The  second  crotchet  rest  is  mostly  used  In  prefw:ence. 


12 


LENGTH  OP  NOTES,  RESTS,  ETC. 


What  is  the  use  of  a  dot  after  any  note  or  rest  ? 

A  dot  is  equal  to  half  the  preceding  note;  conse* 
quently,  a  semibreve  with  a  dot  is  equal  to  three  minims, 
or  six  crotchets,  etc.  A  dotted  crotchet  is  as  long  aa 
three  quavers,  etc. 


^ 


What  is  a  triplet  ? 

When  three  quavers,  instead  of  two^  are  played  to  a 
crotchet,  they  are  called  a  triplet ;  or  three  semiquavers, 
instead  of  two,  to  a  quaver,  and  in  the  same  proportion 
to  all  the  other  notes.  Triplets  are  generally,  but  not 
always,  marked  with  a  figure  of  3. 


^^ 


m 


A  figure  of  6  is  sometimes  placed  over  six  quavers  or  semi- 
^luavers,  etc.:  what  does  it  signify  ? 

It  signifies  that  the  six  quavers  are  to  be  played  in 
the  time  of  four,  or  in  the  time  of  one  minim. 


I 


ffrry-jl 


^ 


LENGTH  OP  NOTES,  RESTS,  ETa 


18 


OP  NOTES,   RESTS,   ETC.,   NEWLY  EXPLAINED. 
How  many  different  kinds  of  notes  are  in  general  use  1 

Six. 

Describe  and  show  their  different  forms. 


A  whole  note  has  a  shape  like  an  0 ; 

til  IS, — 

A  half  note  is  shaped  like  a  whole  note 
with  a  stem  turned  up  or  down ;  thus, — 

A  quarter  note  has  a  black  head 
with  a  stem ;  thus, — 

An  eighth  note  has  a  black  head 
with  a  stem  and  one  hook ;  thus, — 

A  sixteenth  note  has  a  black  head 
with  a  stem  and  two  hooks;   thus, — 


--^ 


-€^ 


A  thirty-second  note  has  a  black  = 
head  with  a  stem  and  three  hooks;  i 
thus, —  ^ 

What  proportion  do  the  several  notes  bear  to  each  other  ? 

Each  note  is  only  half  the  length  of  the  one  preced- 
ing ;  for  example,  a  half  note  is  only  half  as  long  as  a 
whole  note ;  consequently,  a  whole  note  is  as  long  as 
two  half  notes. 

Suppose  you  wish  to  know  how  many  sixteenth  notes  are  equal 
to  a  whole  note,  or  half  note,  in  what  manner  would  you  reckon 
them  ? 

By  beginning  from  any  one,  and  proceeding  in  rota- 
tion, always  doubling  the  number;  for  example,  one 
quarter  note  is  equal  to  two  eighths,  four  sixteenths,  of 
eight  thirty-second  notes. 


14  LENGTH   OF  NOTES,   RESTS,   ETC. 

Repeat  the  general  table  of  the  value  of  notes. 


o 
a 


S 


I 


r- 


!^ 

$ 

s 

« 

o 

■rf 

o 

s 

d 

§ 

1 

^ 

-a 

O^ 

s 

OQ 

H 

4      » 

.      8 

« 

16 

« 

32 

2      = 

»      4 

= 

8 

- 

16 

r " 

=      2 

= 

4 

- 

8 

r 

» 

2 

S3 

4 

E 


f 


Name  the  half,  the  fourth,  the  eighths,  the  sixteenths,  etc.,  (fa 
whole  note ;  of  a  half  note ;  of  a  fourth  note ;  of  a  sixteenth  note,  etc. 

What  are  rests  1 

Marks  for  silence  corresponding  with  the  different 
notes. 

Describe  and  show  them. 


Whole  note 
rest. 

Half  note 
rest. 

Quarter  note 
rest. 

Eighth  note 
rest. 

Sixteenth 
note  rest. 

Thirty-second 
note  rest. 

•1 

f-  or  N* 

«-] 

•^ 

3 

^ 

•^ 

Block 

under  a 

line. 

Block 

over  a 

line. 

Stem  with  a 

hook  to  the 

right. 

Stem  with  a 

hook  to  the 

left. 

stem  with 

two  hooks  to 

the  left. 

Stem  with 

three  hooks  to 

the  left. 

What  is  the  use  of  a  dot  after  any  note  or  rest  1 

A  dot  is  equal  to  half  the  preceding  note ;  conse- 
quently, a  whole  note  with  a  dot  is  equal  to  three  half 
notes ;  a  half  note  with  a  dot  is  equal  to  three  quarter 


LENGTH  OP  NOTES,  RESTS,  ETO. 


15 


notes;  a  quarter  note  with  a  dot  is  as  long  as  three 
eighth  notes ;  thus,-— 


\v 


i 


Wliat  is  a  triplet  ? 

When  three  eighth  notes,  instead  of  two^  are  played  to 
a  quarter  note,  or  three  sixteenths,  instead  of  two^  to 
an  eighth,  they  are  called  triplets;  and  in  the  same 
proportion  to  all  other  notes.  Triplets  are  generally, 
but  not  always,  marked  with  a  figure  of  3.  The  figure 
3  is  usually  placed  over  the  first  group  of  notes  only. 


What  is  a  double  triplet  1 

It  is  called  a  double  triplet,  when  six  eighth  notes  are 
played  in  the  time  oifour^  or  in  the  time  of  a  half  note ; 
or  when  six  sixteenth  notes  are  played  in  the  time  of 
four^  etc.  The  figure  of  6  is  usually  placed  over  tho 
first  group  of  notes. 


Se 


-f—/^ 


CHAPTER  m. 

OF  TIME. 

What  are  bars  ? 

Short  lines  drawn  across  the  staff  to  divide  the  musiQ 
into  equal  portions ;  but  the  music  between  two  of  these 
is  also  called  a  bar  or  measure. 

How  many  sorts  of  time  are  there  1 

Two  :  common  time  and  triple  time. 

What  is  meant  by  common  time  ? 

An  even  number  of  parts  in  a  bar ;  as  two,  four,  six, 
or  twelve. 

What  is  meant  by  triple  time  1 

An  odd  number  of  parts ;  as  three  or  nine. 

How  is  the  time  marked  ? 

At  the  beginning  of  every  piece  of  music  ;  sometimes 
it  is  marked  by  a  g,  which  signifies  common  time,  and 
the  bar  then  contains  the  value  of  a  semibreve,  but 
generally  expressed  four  crotchets  in  a  bar.  The  time 
is  also  occasionally  marked  by  two  figures,  which  have 
a  reference  to  the  semibreve. 

How  do  the  figures  refer  to  the  semibreve  1 

The  lowest  figure  shows  into  how  many  parts  the 
semibreve  is  divided,  and  the  upper  figure  shows  how 
many  of  those  parts  are  to  be  in  a  bar. 

Name  the  divisions  of  a  semibreve  ? 

A  semibreve  divided  into  two  parts,  will  become 
minims ;  divided  into  four  parts  it  will  become  crotchets ; 
divided  into  eight  parts  it  will  become  quavers ;  conse- 
quently, the  figure  of  2  represents  minims ;  the  figure 
of  4  represents  crotchets ;  and  the  figure  of  8  repre- 
sents quavers. 


TIME. 


17 


Explain  the  following  marks  of  time,  pointing  out  which  are 
.ommon,  and  is  liich  are  tiiple  time. 


3S 


S 


ee: 


:fl: 


3& 


±1 


it 


3E 


i 


=9= 


:& 


E3E 


!& 


it 


How  many  sorts  of  common  and  triple  times  are  there  1 
Two  of  each;  viz.,  simple  and  compound. 

How  are  they  distinguished  1 

The  easiest  way  is  to  remember,  that  if  the  number 

of  notes  expressed  by  the  upper  figure,  or  figures,  ia 

less  than  6,  it  is  simple ;  but  if  it  is  6,  or  more  than  6, 

it  is  compound. 

Explain  again  all  the  marks  of  time,  pointing  out  which  are 
simple  and  which  are  compound. 

Is  it  necessary  to  count  the  time  exactly  as  expressed  by  the 
figures  1 

No :  two  crotchets  may  be  counted  as  four  quavers ; 
three  crotchets  as  six  quavers,  etc. 

How  is  the  time  to  be  counted  if  the  piece  contains  triplets  1 

It  must  be  counted  by  the  value  of  the  triplet ;  for 

example,  if  there  are  three  quavers  to  a  crotchet,  the 

tima  must  be  counted  by  crotchets ;  if  there  are  three 

semiquavers  to  a  quaver,  it  must  be  counted  by  quavers. 


OP  MEASURE,  TIME,  ETC.,   NEWLY  EXPLAINED. 
What  are  bars  ? 

Short  lines  drawn  across  the  staff  to  divide  the  musio 
into  measures. 
What  is  a  measure  1 
The  quantity  of  music  contained  between  two  bars. 

How  many  kinds  of  music  are  there  ? 

There  are  four  principal  kinds  of  measure  in  general 
use;  viz.,  two-fold ^  or  double;  three-fold j  or  triple; 
four-foldy  or  quadruple:  and  the  six-foldj  or  sextuple. 


18  OP  MEASURE,   TIME,  ETO. 

What  is  meant  by  two-fold  or  double  measure  ' 

An  even  number  of  parts  in  a  measure;  as  two  halves^ 
or  two  quarters*  It  is  accented  on  the  first  part  of  the 
measure. 

What  is  meant  by  three-fold  or  triple  measure  1 

An  odd  number  of  parts  in  a  measure;  as  three 
halves^  three  quarters^  or  three  eighths.  It  is  accented 
on  the  first  part  of  the  ':aeasure. 

What  is  meant  by  four-fold  or  quadruple  measure  ? 

An  even  number  of  parts  in  a  measure ;  Sisfour  halves j 
four  quarters,  or  four  eighths.  It  is  accented  on  the 
first  and  third  parts  of  the  measure. 

What  is  meant  by  six-fold  or  sextuple  measure  ? 

An  even  number  of  parts  in  a  measure,  each  part 
containing  an  odd  number ;  as  six  quarters  divided  into 
twice  three,  or  six  eighths  divided  into  twice  three.  It 
is  accented  on  the  first  or  fourth  part  of  the  measure. 

Are  there  any  other  measures  used  ? 

Yes :  the  nine-fold  and  twelve-fold  are  sometimes  used. 

What  is  meant  by  nine-fold  measure  ? 

An  odd  number  of  parts  in  a  measure,  each  part 
containing  an  odd  number ;  as  nine  quarters,  or  nine 
eighths  divided  into  three  times  three.  It  is  accented 
on  the  first,  fourth,  and  seventh  parts  of  the  measure. 

What  is  meant  by  twelve-fold  measure  ? 

An  even  number  of  parts  in  a  measure,  each  part 
containing  an  odd  number ;  as  twelve  quarters,  or  twelve 
eighths,  divided  into  four  times  three.  It  is  accented  on 
the  first,  fourth,  seventh,  and  tenth  parts  of  the  measure., 

How  is  time  marked  1 

The  time  is  marked  at  the  beginning  of  every  piece 
of  music,  either  by  two  figures,  or  by  the  letter  g. 

How  is  two-fold  or  double  time  expressed  1 

By  the  figures  |,  | ;  and  sometimes  ^  or  |. 

How  is  three-fold  or  triple  time  expressed  1 

By  the  figures  |,  |,  or  §. 


POSITION   OF  THE  HAISTD,   ETC.  19 

How  is  four-fold  or  quadruple  time  expressed  f 

By  the  figures  ^,  | ;  or  by  the  sign  g,  which  signifies 
common  time. 

How  is  six-fold  or  sextuple  time  expressed  • 

By  the  figures  ^  or  |. 

How  is  nine-fold  and  twelve-fold  time  expressed  1 

Nine-fold  time  is  expressed  by  the  figures  |  or  |,  and 
twelve-fold  time  by  the  figures  ^^  or  ^^. 

How  do  the  figures  refer  to  the  whole  note  1 

The  lower  figure  shows  into  how  many  parts  the 
whole  note  is  divided,  and  the  upper  figure  or  figures 
show  how  many  of  those  parts  are  to  be  in  a  measure. 


CHAPTER   IV. 

POSITION, OF  THE  HAND,  AND  MANNEK   OP  PLAYING,  ETC. 

In  what  position  should  the  hand  and  arm  he  held  ? 

The  hand  and  arm  should  be  even,  neither  raising  nor 

depressing  the  wrist ;  the  fingers  should  be  bent  at  the 

middle  joint,  so  as  to  bring  the  points  of  them  even  with 

the  end  of  the  thumb. 

How  many  keys  should  be  eorered  by  the  hand  in  its  natural 
position  ? 

Five ;  one  finger  over  the  centre  of  each  key.  In 
pressing  down  a  key  with  one  finger,  care  must  be  taken 
not  to  move  the  others. 

How  many  keys  are  to  be  held  down  at  a  time? 

Generally  speaking,  one ;  and  that  must  be  kept 
down  until  the  next  key  is  struck,  but  not  longer. 
When  two  oi^more  keys  are  struck  at  one  time,  they 
are  considered  but  as  one,  and  they  must  be  held  dowu 
until  iiiQ  i\ext  keys  are  struck. 


20 


POSITION  OP  THE  HAND,  ETC, 


In  what  cases  should  the  fingers  be  raised  % 

When  any  key  is  struck  more  than  once,  it  should  bo 
raised  every  time  but  the  last ;  and  the  fingers  must  of 
course  be  raised  whenever  a  rest  appears. 

What  is  the  meaning  of  playing  legato  f 

It  signifies  playing  smoothly,  always  keeping  one  key 
down  till  the  next  be  struck. 

What  is  playing  staccato  t 

Separating  the  notes  from  each  other,  or  raising  the 
finger  from  one  key  before  the  other  is  down. 

What  is  a  slur  ?     ^^    ^^     ^*-^— ^ 

It  is  a  curved  line,  drawn  over,  or  under,  two  or  more 
notes,  to  signify  that  they  are  to  be  played  legato. 

What  is  a  tie  or  bind  ?      ^^    ^^     ^'^^^^ 

It  is  of  the  same  form  as  a  slur,  but  placed  to  two 
notes  alike ;  it  binds  the  second  to  the  first,  so  that  only 
the  first  is  to  be  struck ;  but  the  finger  must  be  held  down 
the  full  time  of  both. 

How  are  notes  marked  which  are  to  be  played  staccato  ? 

With  round  dots  or  pointed  specks,  above  or  below 
them ;  those  with  dots  are  to  be  played  moderately  stac- 
cato ;  those  with  specks  very  much  so. 

Play  the  following  passage  in  the  three  different  ways  it  is 
marked. 


OF  SHARPS,  FLATS,   ETC. 


21 


How  are  notes  to  be  played  which  are  marked  with  dots  and 
•Inrs  also  1 

On  a  repetition  of  the  same  note  they  should  be  play^ 
as  closely  as  possible. 


=Ff?= 


^  f>   ^   ^ 


!       I 


When  notes,  thus  marked,  are  played  in  succession, 
the  fingers  should  be  gently  put  down,  and  gently  raised. 


CHAPTER  V. 


OP  SHARPS,  FLATS,  ETC. 
What  is  an  interval  1 

An  interval  is  the  difference  or  distance  between  two 
Bounds. 

What  is  the  smallest  interval  ? 

A  semitone,  or  half  a  tone.  Each  key  of  the  piano- 
forte is  a  semitone  from  that  which  is  next  to  it,  whether 
it  be  a  white  key  or  a  black  one. 

What  is  a  sharp  ?  ( 

A  sharp  placed  before  any  note  raises  it  one  semi- 
tone, or  to  the  next  key  on  the  right  hand. 


i^ 


^ 


^ 


What  is  a  flat  ?  fe 

A  flat  placed  before  any  note  lowers  it  one  semitone, 
or  to  the  next  key  on  the  left  hand 


22 


^ 


^ 


What  is  a  natural  1     J 

A  natural  brings  a  note  that  has  been  raised  by  a 
sharp,  or  lowered  by  a  flat,  to  its  former  place  again ; 


}^        B^ 


^ 


consequently,  a  natural  sometimes  raises  and  sometimes 

lowers  a  note. 

Why  are  sharps  or  flats  placed  at  the  beginning  of  a  piece  of 
music  % 

Any  sharps  or  flats  placed  at  the  beginning  affect  all 

notes  of  the  corresponding  names,  throughout  the  piece. 


For  example,  a  sharp  on  ^j-)  the  fifth  line  signi- 

fies that  all  the  F's  are  to  be  played  sharp ;  and  flats 
upon  the  third  line  and  fourth  f^y  space  signify 

that  all  the  B's  and  E's  are  to  be  flat. 

What  are  accidental  sharps,  flats,  or  naturals  ? 

Accidentals  are  those  which  are  not  marked  at  the 
beginning  of  the  piece. 

How  long  does  the  influence  of  an  accidental  last  % 

An  accidental  affects  all  notes  of  the  same  name  in 
the  bar;  for  example, — 


signifies  that  all  fie  C's  are  to  be  sharp,  though  only 
the  first  Ls  marked. 


COMMON   CHARACTERS,  ETC. 


28 


^ 


^ 


i 


The  flat  in  this  example,  although  placed  to  B  on 
the  third  line,  affects  the  B  above  the  first  ledger  line. 
Do  accidentals  ever  affect  notes  in  the  bar  following  ? 

Yes:  if  the  last  note  of  one  bar,  which  has  been 
made  sharp,  begins  the  next,  it  is  to  continue  sharp. 


^^ 


^ 


I    mi  iiiiiliB   I 


g 


■-gf- 


£ 


fTTT 


The  same  is  to  be  observed  of  flats  and  naturals. 


CHAPTER   VI. 

OP  COMMON  CHARACTERS  USED  IN  MUSIO. 


What  is  the  use  of  doi^ble  bars  ? 


Double  bars  are  placed  in  the  middle,  or  at  the  end 
of  a  piece  of  music,  to  show  that  a  part,  or  thd  whole,  is 
finished. 

What  is  the  iis<  of  dots  at  a  bar,  or  at  a  double  bar  I 


1 


They  signify  that  that  part  of  the  music  which  is  oq 
the  same  side  as  the  dots,  is  to  be  repeated ;  for  example", 


24 


COMMON  CHARACTERS 


these  dots  being  on 


s 


the  left-hand  side  of 


fche  double  bar,  signify  that  the  performer  is  to  repeat  the 


former  piece;    but 


these  dots  being  on 


the  right-hand  side,  signify  that  the  performer,  after 
having  played  to  the  next  dots,  is  to  return  to  this  place. 

What  is  the  use  of  a  sign  ?    ;g: 

The  second  time  it  occurs  in  a  piece  of  music,  it  is 
generally  accompanied  with  the  words  ^^Bal  Segno^'* 
which  signify  from  the  sign ;  consequently,  the  per- 
former is  to  return  to  the  first  mark. 

What  is  the  meaning  of  "2)a  Capo"  generally  abbreviated  D,  C.t 

From  the  beginning. 

What  is  the  meaning  of  "Da  Capo  al  Segno  "  f 

From  the  beginning  at  the  sign. 

Why  are  the  figures  1  and  2  sometimes  placed  at  the  double  bar 
in  the  middle  of  a  movement  1 


The  dots  at  the  double  bar  show  that  the  piece  is  to 
be  repeated ;  and  the  figures  denote  that  the  performer, 
in  playing  it  through  the  second  time,  is  to  omit  the  bar 
marked  1,  and  play  that  which  is  marked  2,  instead. 

What  is  the  use  of  a  pause  1    /?\ 

A  pause  placed  over  a  note  signifies  that  the  finger 
is  to  be  held  down,  and  the  performer  is  to  pause  aa 
long  as  he  thinks  proper. 


p 


A  pause  over  a  rest  has  the  same  meaning  excepting 
that  the  fingers  are  to  be  raised. 


i 


USED   IN   MUSIC. 


25 


^ 


?C5:=^ 


S 


Wliy  is  a  i>aa8e  sometimes  placed  over  a  double  bar« 


A  pause,  or  the  words  "  JZ  Finej^  placed  at  a  doubltj 
Dar,  shows  that  the  piece  is  to  end  at  that  place,  after 
the  Da  Capo. 

What  is  the  meaning  of  the  word  "Bis"f 

It  is  generally  accompanied  with  dots  at  the  bars,  and 
placed  under  a  slur;  it  signifies  that  the  passage  over 
which  it  is  placed  is  to  be  played  twice  over. 


f  irrfr 


3 


What  is  the  use  of  a  direct? 


It  is  placed  at  the  end  of  a  staff,  or  at  the  bottom  of 
a  page,  to  indicate  the  name  of  the  following  note. 

What  is  the  meaning  of  "  Volti  Subito"  generally  marked  V.  SS 
Vbltij  means  turn  over ;  suhito,  quickly. 

Wliat  is  the  meaning  of  "  Ottava  Alta"  generally  marked  Svaf 

It  signifies  that  the  music  over  which  it  is  placed  is 
to  be  played  an  octave  higher,  as  far  as  the  marks  of 
continuation  extend. 

What  is  the  meaning  of  "  Loco  "  f 

It  signifies  that  the  music  is  to  be  played  as  it  is 
written ;  that  is  to  say,  no  longer  an  octave  higher. 

^  The  pupil  should  now  be  exercised  in  naming  the  keys  of  the 
piano  forte  without  looking  at  the  instrument,  remarking  that  the 
black  keys  are  occasionally  called  sharps,  and  occasionally  flats 
(See  Appendix,  Exercise  I.)  The  white  keys,  also,  commonly 
called  E,  F,  and  B,  C,  frequently  change  their  names,  and  are  uaed 
M  flats  or  sharps  to  their  neighboring  keys. 


26  OF   aRACES. 

The  othci.^,  too,  are  occasionally  called  doable  sharps,  and  doabl© 
flats,  which  are  explained  at  the  beginning  of  Cliapter  XL  'Se© 
also  Appendix,  Exercise  IL) 

Name  a  chromatic  semitone*  abore  A,  A#,  etc.,  etc. 

A  chromatic  semitone  above  A  is  Aft ;  a  chromatic 
semitone  aboTe  Aft  is  AX,  etc.,  etc. 

Name  a  diatonic  semitone  abore  A,  B,  etc.  (See  Appendia, 
Exercise  XIH.,  page  55.) 

Name  a  diatonic  semitone  below  A,  B,  etc  (See  Appendia^ 
Exercise  XIII.,  page  65.) 


CHAPTER    Vn. 

OF  GRACES  ANB   COMMON  MARKS   OE  EXPRESSIOIf. 

What  is  an  appogiatura  ? 

It  is  a  small  note  prefixed  to  a  large  one  from  whicb 
it  generally  takes  half  its  time ;  for  example,  an  appo- 


giatura ^y~^~ —  before  a  minim,  must  be  played 

consequently  it  does  not 


as  a  crotcliet;  ^ 


lengthen  the  bar. 

When  an  appogiatura  is  placed  before  a  double  note,  is  it  to  be 
played  by  itself,  as  it  appears,  or  with  the  lower  note  1 

The  appogiatura  is  to  be  played  instead  of  part  of  the 
upper  note ;  consequently,  the  lower  note  must  be  played 
with  it;  for  example, 


•  For  an  ex|)TanatloB  of  the  di^rence  betw'eta  *  ehiem&ii/G  shoA^a  diatonit*  <¥«*• 
lOfM,  Me  page  46. 


AND   COMMON  MARKS   OP  EXPRESSION,   ETC.         27 


rj9     J  J  ~4-  must  be  played  as  if  written  .  v    J     'i^ 

^y^  thus,-  ^         p^— 


Are  all  ai>pogiaturas  to  be  made  half  the  time  of  the  note  thej 
precede  ? 

No :  they,  as  well  as  the  other  graces  used  in  music, 
depend  greatly  on  the  taste  and  judgment  of  the  per- 
former; consequently,  they  can  be  best  explained  as 
^ley  occur. 

How  is  a  turn  -«^  t )  be  made  ? 

A  turn  is  to  be  made  with  the  note  above,  and  the 
note  below  that  which  is  written,  beginning  with  the 
highest ;  consequently,  a  turn  upon  C  will  be  made  with 
D,  C,  B,  C. 

Should  the  lowest  note  of  a  turn  be  a  tone,  or  a  semitone,  below 
the  note  written  ? 

In  most  cases  it  should  bo  a  semitone. 

Supposhig  a  turn  be  made  upon  A ;  is  it  immaterial  whether  it 
be  called  B,  A,  G{f,  A,  or  B,  A,  At?^,  A? 

No :  three  different  letters  must  be  made  use  of  in  a 
turn ;  therefore,  the  lowest  must  be  called  Gtf,  and  not  At?. 

Name,  write,  or  play  a  turn  upon  A,  upon  B,  C,  D,  E,  F,  G,  etc 
(See  Appendix,  Exercise  III.) 

How  is  a  turn  made  upon  a  dotted  note  ? 

By  first  striking  the  note  itself,  and  making  the  turn 
afterwards. 


^^ 


What  is  an  inverted  turn  1      I 

An  inverted  turn  consists  of  the  same  notes  as  a  turn  ;> 
but  beginning  with  the  lowest,  instead  of  the  highest 
note. 

Make  an  inverted  turn  upon  A,  B,  C,  D,  E,  F,  G,  etc. 

How  is  a  shake  to  be  made  ? 

A  shake  is  made  with  the  note  above,  and  the  not# 


28 


OF  GRACES. 


which  is  written,  beginning  with  the  highest,  an  J  can- 
eluding  with  a  turn ;  for  example, — 


the  rapidity  of  the  shake  depending  on  the  ability  of 
the  performer. 

Make  a  shake  upon  A,  B,  C,  D,  E,  F,  G,  etc. 

What  is  the  meaning  cl  piano  1 

Soft;  generally  abbreviated  j!?2a.,  or  p. 

What  is  pianissimo  1 

Very  soft;  generally  abbreviated jt?pm(?.,  or ^j!>. 

What  is  the  meaning  of  forte  ? 

Loud;  generally  abbreviated /or.,  or/. 

What  is  fortissimo  ? 

Very  loud ;  generally  marked  ^mo.,  or^. 

What  is  the  meaning  of  mezzo  forte,  and  mezzo  piano  1 

Mezzo  forte  signifies  moderately  loud,  and  mezzo 
piano  moderately  soft ;  they  are  generally  nxarked  rrif. 
and  mp. 

What  is  the  meaning  of  dolce,  or  Jol  1 

Softly  or  sweetly. 

What  is  the  meaning  of  tenutOy  or  teno  1 

It  signifies  that  the  fingers  are  to  be  particularly  he^d 
down  during  the  passage  to  which  it  is  applied. 

What  is  for  zandc,  or  sforzato'i 

They  each  signify  that  one  note  is  tD  be  played  strong ; 
they  are  abbreviated /2.  and  sf. 

What  »B  rinforza'do  1 


AND   COMMON  MARKS   OF  EXPRESSION.  29 

It  signifies  that  several  notes  are  to  be  played  strong ; 
it  is  generally  marked  rinf.  dr  rf. 

What  is  the  meaning  of  crescendo,  or  cresA 

Begin  softly,  and  gradually  increase  the  sound.  The 
following  mark  -==::iIIIIIZ!^  is  also  occasionally  used, 
to  signify  that  the  performer  is  to  play  piano  where  it  ia 
small,  and  forte  where  it  is  large.  K  a  small  mark  of 
this  sort  >  is  applied  to  one  note,  it  has  the  same 
effect  as/2. 

What  is  the  meaning  of  diminuendo,  or  decrescendo  ? 

Begin  loud,  and  gradually  diminish  the  sound.     They 

are  generally  marked  dim.^  deer es.j  or  ~  " — . 

What  is  the  meaning  of  calando,  or  col,  1 

Gradually  softer  and  slower. 

What  is  the  meaning  of  perdendosi  ? 

It  has  the  same  meaning  as  calando. 

What  is  the  meaning  of  a  tempo,  or  teinpo  primo  ? 

After  having  slackened  the  time  at  calaiido^  it  sigm- 
fies  that  the  original  time  is  to  be  resumed  ? 

Wliat  is  the  meaning  of  ad  libitum,  or  ad  lib  A 

It  signifies  "  at  pleasure ; "  that  is  to  say,  the  per- 
former may  play  the  passage  as  it  is  written,  or  intro- 
duce any  cadence  he  thinks  proper. 

When  two  notes  are  marked  with  a  slur,  thus,— 


In  what  manner  are  they  to  be  played  1 


As  if  marked  thus, —  ^      T      I  — -  *^^^  ^^  *^  ^^Ji 


the  first  is  to  be  pressed  and  held  down,  the  second 
played  softly  and  the  finger  raised  immediately. 


80  OP  INTERVALS. 

What  is  meant  by  a  curved  or  waved  line  placed  before  a  Aordf 


^ 


It  Signifies  that  the  notes  are  not  to  be  played  quite 
together,  but  successively  from  the  lowest  upwards. 
Chords  played  in  this  manner  are  called  spread. 


CHAPTER  VIIL 

OP  INTERVALS.  - 

What  is  an  interval  ? 

An  interval  is  the  difference  or  distance  between  two 
sounds.  It  must  be  remembered  that  all  intervals  are 
called  according  to  the  degrees  of  the  staff,  or  according 
to  the  number  of  letters  they  are  distant  from  each 
other. 


t^- 


For  instance, —  rK-        '  ^  is  a  second; 


-r2 fr^z 


a  sharp  second;  but  if  the  same 


keys  are  struck,  and  called  ^       ^  ~i  the 

interval  is  then  called  a  third. 

Are  intervals  to  be  reckoned  upwards  or  downwards  1 

Always  upwards  from  the  note  named,  unless  the 
contrary  be  expressed. 
What  is  a  tone  ? 
It  consists  of  two  semi  tores.     The  interval  between 


OF  INTEKVALS.  81 

F  and  FS  is  one  semltaiie ;  and  between  E8  and  G  ifl 
another;  for  example, — 
1 


^m 


conse.juently,  the  interval  between  F  and  G  is  a  whole 
tone.* 

What  is  a  mkior  or  lesser  tliird  ? 

A.  minor  third  (sometimes  improperly  called  a  flat 
third)  is  three  semitones  from  the  note  named ;  for 
example,  the  minor  third  of  A,  must  be  reokoned  thug : 
from  A  to  A  fl  one  semitone,  to  B  two^  to  C  thre^. 


^A-^ 


rJ      ft 


How  many  semitones  is  a  major,  or  greater  third  from  the  note 
named  ? 

Four ;  this  interval  is  sometimes  improperly  called  a 
sharp  third. 


^^s^^^- 


"^2= 


As  the  semitone  above  C  may  be  called  either  C  J  or  D  t?",  is  it 
kiimateriai  in  reckoning  the  major  third  of  A,  whether  you  say  C  It 

No :  the  major  third  of  A  must  be  called  CJf ;  for  ex- 
ample, A,  B,  C  is  a  thirdy  and  A,  B,  C,  D,  is  a  fourth. 

Name,  write,  or  play  minor  and  major  thirdst  to  A,  B,  C,  D,  E, 
F,  G;  to  Afi,  Bft  C%  DJf,  EJf,  F Jf,  G  Jf;  to  Afe,  Bfc  Cfc  Dfc  Efc 
I  Z,  GtZ.     (See  Appendix,  part  of  Exercise  IV.) 

♦  The  pupil  ghouid  be  required  to  prove  all  Intervals  by  inserting  (or  ooonting) 
tbe  semitones  In  this  manner. 

t  In  reckoning  thirds,  or  any  other  Intervals,  the  pupil  is  recommended  first  t« 
fix  "apon  the  proper  letter,  and  afterwards  ascertain,  by  counting  the  semitones 
whether  the  letter  fixed  npoa  ia  to  lie  natural,  sharp,  double  sharp,  flat,  or  double 
Bat:  for  example,  after  having  decided  that  the  third  of  A  must  be  C,  It  remains  to 
be  proved  wlilch  of  the  five  C's  (viz.,  C  ^,  C  S,  CX»  C  ^  or  C bb)  to  the  ene  required. 
That  C  Mrhich  is  three  semitones  from  A,  is  Ute  minor  third,  and  that  C  wMoh  ]§ 
four  semitones  from  A,  is  th<)  major  third. 


82  OP  INTERVALS. 

How  many  semitones  is  a  perfect  fifth  from  the  note  named  ? 

Seyen : 

1        2       3       4        6       6       7 


i 


ffi'   *  fl^ 


s»= 


but  the  easiest  way  is  to  remember,  that  every  note, 
excepting  one,  has  a  fifth  either  sharp,  flat,  or  natural, 
like  itself ;  for  example,  the  fifth  of  C  is  G,  the  fifth  of 
CSisGJt,  thefifthof  CuisGfe. 

What  note  has  a  fifth  unlike  itself  1 

B ;  the  fifth  of  which  must  be  raised  a  semitone  to 
make  it  perfect ;  for  example,  the  fifth  of  B  is  Ftf,  the 
fifth  of  B*  is  Fx,  the  fifth  of  Bfe  is  F. 

Name  or  write  fifths  to  all  the  notes,  beginning  with  F,  and  pro- 
ceeding always  a  fifth  higher. 

F,  C,  G,  D,  A,  E,  B,  F#,  CS,  G#,  D»,  A#,  E», 

B9,  Fx,  Cx,  etc. 

Name  fifths  to  flats  now,  commencing  with  Ft^. 

Ffe,  Cb,  Gfe,  Dfe,  Ab,  E|2,  Bfe,  Ft],  etc. 

By  way  of  exercise,  now  name  the  fifths  below,  and  observe  that 
in  reckoning  downwards,  every  note  has  a  fifth  like  itself,  excepting 
F,  the  fifth  below  which  must  be  lowered  a  semitone ;  for  exam, 
pie,  the  fifth  below  F  is  Bt?",  the  fifth  below  F{7  is  B|7!7,  the  fifth 
below  F  K  is  B. 

B,  E,  A,  D,  G,  C,  F,  Bfe,  Ek,  Afe,  Dfe,  Gfc,  Cfe, 
F'fe,  B&fe,  etc. 

Name  the  fifths  below  to  the  sharps,  commencing  with  B  Jf. 

BS,  E#,  A«,  m,  G#,  C#,  FS,  B5,  etc. 

Name  again  the  two  letters  which  have  fifths^  not  sharp,  flat,  Oi 
natural  like  themselves. 

B,  in  reckoning  fifths  upwards ;  and  F,  in  reckoning 
fifths  downwards. 

What  is  the  leading  note  t 


OP  INTERVALS.  33 

The  leading  note  is  the  sharp  seventh  of  the  scale;  it 
is  seven  semitones  from  the  note  named ;  but  the  easiest 
way  is  to  reckon  it  one  semitone  below  the  octave. 

I       2       3      4      6       6       7       8       9     10      11 


MAAA^ 


As  you  say  "sharp  seventh"  is  the  leading  note  always  a  sharp  ? 

No:  for  example,  the  leading  note  of  F  is  Ett;  the 
leading  note  of  A  is  G  # ;  and  the  leading  note  of  C  fe ; 
isBfe.*     ' 

As  the  leading  note  is  one  semitone  below  the  octave,  is  it  im- 
material whether  the  leading  note  of  A  be  called  G  JI  or  A  [7^  ? 

No :  for  although  A  t!  is  a  semitone  below  the  octave, 
it  is  the  eighth  letter  or  degree,  and  the  leading  note 
must  be  the  seventh. 

Name  or  write  the  leading  note  of  A;  of  B,  C,  D,  E,  F,  G;  of  AJ, 
BS,  Cjt,  T>%  EJt,  Fit,  Git;  Afc  Bt^,  Ct7,  Dfe,  E!r,  Ffc  Gfe 
(See  Appendix,  part  of  Exercise  IV.) 

Name  or  write  minor  thirds,  major  thirds,  fifths,  and  leading 
notes  to  A.  B,  C,  D,  E,  F,  G;  Aff,  BJ,  CJ,  Dtf,  EJf,  FJf,  GJf; 
AlZ,  Bfc  CtZ,  DtZ,  Efe,  FtZ,  Gfc     (See  Appendix,  Exercise  IV.) 

Name  or  write  minor  thirds,  major  thirds,  fifths,  and  leading 
notes  to  Afc  BJt,  C,  Dfc  EJt,  F,  Gfc;  Ajf,  B,  Cfe,  DJf,  E,  Ffc 
Gff;  A,  Bfc  CJt,D,  Efc  FJf,  G. 

*  In  naming  intervals  in  general,  it  is  sufficient  to  name  the  letter,  if  a  natural 
be  Intended;  thus,  it  is  sufficient  to  say  that  the  minor  third  of  A  is  C,  and  not  say 
C^;  but  in  naming  or  writing  leading  notes,  it  should  be  always  expressed ;  thus,  the 
leading  note  of  B^  is  A^  ;  the  leading  note  of  E  ^  is  D^,  etc.  This  is  recommended 
that  the  pupil  may  hereafter  more  readily  And  the  leading  notes  of  the  minor  kev» 
which  are  already  marked  with  an  accidental,  ihaxp,  flat,  or  natural 


CHAPTER  IX. 

OP  THE   SIGNATURE. 

Ho\y  do  you  determine  what  is  the  tonic,  or  key  note  of  a  piece 
of  music  ? 

Principally  by  the  signature,  or  number  of  sliarps  S)r 
flats  at  the  beginning. 

What  method  have  you  of  discovering  the  tonic  ? 

Every  tonic,  or  key  note,  is  a  fifth  higher  for  every 
additional  sharp,  and  a  fifth  lower  for  every  additional 
flat,  commencing  always  with  C,  which  key  has  neither 
flat  nor  sharp. 

Name  the  order  of  keys  with  sharps. 

C  has  no  sharp,  G  has  one,  D  has  two,  A  has  three, 
E  has  four,  13  has  five,  F6  has  six,  and  C  #  has  seven. 

Name  the  order  of  keys  with  flats. 

C  has  no  flat,  F  has  one,  Btz  has  two,  Efe  has  three, 
A 12:  has  four,  D\i  has  five,  Gfe  has  six,  and  Cfe  has  seven. 

What  key  has  two  or  more  sharps  or  flats,  etc.? 
What  is  the  signature,  or  Bumber  of  sharps  or  flats,  of  the  key 
of  A;  DtZ;  FJf;  etc.,  etc.? 

How  many  keys  have  the  same  signature  ? 

There  are  two  of  each ;  for  example,  every  tonic  or 
key  note  has  its  relative  minor.* 

How  is  the  relative  minor  of  any  key  to  be  found  ? 

The  relative  minor  of  every  key  is  a  minor  third  below ; 
for  example,  the  relative  minor  of  C  is  A  minor;  the 
relative  minor  of  B  tz  is  G  minor. 

Name  the  relative  minor  of  C ;  of  G,  D,  A,  E,  B,  FJf,  CJf;  of 
C,  F,  Bl2:,  Efc  Ab,  Dfc  G!7,  and  BtZ;.  (See  Appendix,  part  of 
Exercise  V.) 

In  what  manner  do  you  decide  whether  a  piece  is  in  the  key 
which  is  indicated  by  the  signature,  or  in  its  relative  minor? 

By  looking  for  the  leading  note  of  the  minor  key  alluded 
to,  as  the  leading  note  of  every  minor  key  is  marked 

*  The  difference  between  major  and  minor  keys  ^^n\l  be  more  fuUy  explained 
hereafter;  the  present  is  only  given  as  the  readiest  way  of  enabling  a  pupU  to  a 
Udu  wtiat  key  any  piece  of  music  is  in. 


FORMATION   OF  THE   SCALE.  85 

witt  an  accidental  sharp  or  natural ;  for  example, — 


m^ 


V 


^^J-J?! 


r^- 


Judging  from  the  signature  this  may  be  either  in  C,  or 
A  minor,  but  as  the  first  G  is  sharp,  wliich  is  the  leacUng 
note  of  A,  the  piece  is  in  the  key  of  A  minor. 


This  piece,  having  one  sharp  at  the  signature,  may  be 

either  in  G,  or  E  minor ;  but  as  the  first  D  is  not  sharp, 

it  cannot  be  in  E  minor ;  consequently,  it  is  in  the  key 

of  G. 

Is  this  an  invariable  rule  for  ascertaining  what  key  a  piece  of 
music  is  in  ? 

No :  exceptions  to  it  (though  very  seldom)  may  be 
met  with ;  but  these  can  only  be  understood  by  those 
who  study  harmony. 

Name  or  write  tlie  order  of  keys  with  sharps  and  flats ;  also  the 
relative  minor,  and  the  leading  note  of  the  relative  minor,  to  each 
key.    (See  Appendix,  Exercise  V.) 

As  the  relative  minor  of  any  key  is  a  minor  third  below,  of 
course,  the  relative  major  of  any  minor  key  is  a  minor  third  above ; 
»ame,  therefore,  the  relative  major  of  A  minor,  etc.,  et«.  (See 
ippendix,  Exercise  V.) 


CHAPTER    X. 

OP  THE  FORMATION  OP  THE  SCALB. 

Wliat  is  a  tetrachord  1 

A  tetrachord  is  composed  of  four  sounds,  placed  at 
tiie  mtervals  of  two  tones  and  one  semitone ;  that  is  to 
Bay,  the  interval  between  the  first  and  second  sound 


86  FORMATION   OF  THE   SCALE. 

must  be  a  tone ;  between  the  second  and  tliird,  a  tone ; 
and  between  the  third  and  fourth,  a  semitone. 


i 


-4^ 


zr — -^  iy  ^' — >     ^ — ^ — 

Make  tetrachords,  commencing  with  F;  AJJ;  BIT";  FIt.  Mark 
the  Bemi tones  with  a  slur.     (See  Appendix,  Exercise  VI.) 

IMake  descending  tetrachords,  commencing  with  A ;  B  b" ;  F  |7 ; 
Bb't?';  and  observe  that  the  interval  of  the  semitone  must  still  be 
between  the  two  highest  sounds  of  the  tetrachord.  (See  Appen- 
dix, Exercise  VII.) 

What  is  the  diatonic  scale  ? 

The  diatonic  scale  must  consist  of  the  seven  letters 
or  degrees,  and  the  octave  to  the  first,  in  regular  suc- 
cession, proceeding  by  tones  and  semitones. 

How  do  you  form  the  diatonic  scale  ^ 

By  making  two  tetrachords,  leaving  the  interval  of 

one  tone  between  them,  called  the  tone  of  disjunction. 

Form  the  scale  of  C.  Mark  the  semitones  with  a  slur,  and  sepa* 
rate  the  tetrachords,  at  the  tone  of  disjunction,  by  a  bar. 

Lower  tetrachord.  Upper  tetrachord. 


-7':r 


-e^- 


It  is  to  be  remarked,  that  the  semitones  are  between 
the  third  and  fourth,  and  between  the  seventh  and 
eighth  of  the  scale.  In  all  major  keys  the  ascending 
and  descending  scales  are  composed  of  the  same  notes. 

Name  every  interval  of  the  foregoing  scale. 

C  is  the  tonic,  or  key  note ;  D,  the  second ;  E,  the 

third;  F,  the  fourth,  etc.,  etc.* 

Make  the  scale  of  EJf;  the  scale  of  GIT".  (See  Appendix,  Exer- 
cise VIII.) 

Make  the  descending  scale  of  A!?";  FjJ.  (See  Ajpendix,  Exer- 
cise IX.) 

In  what  manner  are  scales  to  be  formed  so  as  to  show  their 
connection  with  each  other,  and  to  show  the  order  of  tha  seven 
iharps  ? 

•  The  pnpil  should  be  required  to  name  the  intervals  of  every  scale  that  Is  formed* 


FORMATION  OP  THE   SCALE.  8l 

Commence  with  the  scale  :f  C,  and  take  the  uppci 
tetrachord  of  one  scale  for  the  lower  teirachord  of  the 
next.  Observe  that  every  scale  will  be  a  fifth  higher 
than  the  preceding,  and  will  have  an  additional  sharp. 

Scale  of  G  * 


m 


-^ 


4f^ 


-tS^ 


Scale  of  C.  Scale  of  D. 

Make  scales  progressively ;  mark  the  first,  and  each  succeeding 
iharp,  upon  a  separate  staff,  until  you  have  found  the  order  of  the 
•even  gliarps ;  viz., — 


^fe 


£fc 


(See  Appendix,  Exercise  X.) 

After  having  found  the  order  of  sharps  regularly,  by  making 
scales,  the  pupil  will  do  well  to  remember,  that  F  is  the  first,  and 
that  every  succeeding  sharp  is  a  fifth  higher. 

In  what  manner  are  scales  to  be  formed,  so  as  to  show*the  order 
of  the  flats  ? 

Exactly  the  reverse  of  the  former ;  that  is  to  say,  the 

lower  tetrachord  of  one  scale  must  be  taken  for  the 

upper  tetrachord  of  the  next;  for  example,  the  lower 

tetrachord  of  C,  is  the  upper  one  of  F. 

Scale  of  C. 

j^2^  .^r^    ^        ^  Scale  of  Bk 

-etc. 


i 


^ 


^'^-^- 


122: 


tf 


Scale  of  F  t. 


•  In  order  to  avoid  the  Inconvenience  of  the  ledger  lines,  it  will  be  necessary,  in 
eonriniencing  the  gucceeding  scales,  to  copy  tlie  notes  of  tbo  alternate  tetracbords  an 
octave  lower. 

t  In  order  to  avoid  the  inconvenience  of  the  ledger  lines,  it  will  be  necessary,  in 
commencing  the  succeeding  scales,  to  copy  the  notes  of  the  alternate  tetrachordt  a« 
octave  higher. 


88  FORMATION   OF  THE   SCALE. 

Make  scales  progressively ;  mark  the  first  and  each  euccoeding 
flat  upon  a  separated  staff,  until  you  have  found  the  irder  af  the 
seven  flats ;  viz., — 


(See  Appendix,  Exercise  XI.) 


After  having  found  the  order  of  flats  regularly,  by  forming  the 
ecales,  the  pupil  will  do  well  to  remember  that  B  is  the  first  flat,  and 
that  every  succeeding  flat  is  a  fifth  lower. 

What  is  meant  by  the  dominant  and  subdominant  ? 

The  dominant  signifies  the  fifth  above,  and  the  sub- 
dominant  the  fifth  below.  Every  scale  is  intimately 
connected  with  the  scales  of  its  dominant  and  sul>- 
dominant. 

Form  the  scale  of with  its  dominant  and  subdominant. 

What  is  the  difference  between  a  major  key  and  a  minor  key  1 

A  major  key  signifies  that  the  third  of  the  scale  is  a 
major  third  from  the  tonic ;  and  a  minor  key  signifies 
that  the  third  is  a  minor  third  from  the  tonic. 

Key  of  C  major,  or  key  of  C  with  a  major  third. 


3d. 
Key  of  A  minor,  or  Key  of  A  with  a  minor  third. 


i 


-r:p ^7-=^ 


tJ  3d. 

What  is  the  minor  scale  1 

The  minor  scale  consists  of  the  same  number  of  tonea 
and  semitones  of  the  major ;  viz.,  five  whole  tones  and 
two  semitones,  but  differently  disposed ;  the  ascending^ 
also,  differs  from  the  descending  scale  ;  for  example,  A 
18  the  relative  minor  of  C,  and  has  neither  flat  nor  sharp 
at  the  signature. 


FORMATION  OP  THE  SCALE.  89 


-Tzr 


r^ 


i 


"g?" 


The  semitones,  it  is  to  be  observed,  are  not  in  the 
same  situations  as  in  the  major  scale. 

How  is  the  minor  scale  to  be  formed  ? 

The  easiest  way  is  to  form  it  with  the  %ame  flats  or 
sharps  as  its  relative  major,  remembering  that  the  sixth 
and  seventh  of  the  ascending  scale  must  each  be  raised 
a  semitone  by  accidental  sharps  or  naturals ;  for  exam- 
ple, D  is  the  relative  minor  of  F ;  consequently,  must 
have  B  fe  at  the  signature.  The  sixth  and  seventh,  as 
has  been  before  remarked,  are  raised  by  accidentals,  in 
the  ascending  scale. 


^ 


^^^ 


~1ZP~ 


1221 


-t^- 


-t^- 


-z:^ 


Wliy  are  the  sixth  and  seventh  notes  of  the  ascending  minor 
scale  raised  by  accidentals  ? 

The  seventh  is  raised  because  every  ascending  scale 
must  have  a  leadmg  note,  and  the  sixth  is  also  raised 
that  the  interval  between  the  sixth  and  seventh  may  not 
be  greater  than  a  tone  ;  for  the  diatonic  scale  must  con- 
sist of  tones  and  semitones. 

Repeat  the  method  of  making  a  minor  scale. 

First  ascertain  what  is  its  relative  major;  secondly, 
write  the  signature ;  thirdly,  write  the  scale  ascending 
and  descending ;  fourthly,  raise  the  sixth  and  seventh 
of  the  ascending  scale  each  one  semitone. 


40  FORMATION   OP   TUB   gCALE. 

Write  the  scale  of  D  minor;  G  minor;  FJ  minor;  B  minof;  CI 
minor;  etc.     (See  Appendix,  part  of  Exercise  XII.) 

Write  the  scale  of  the  relative  minor  of  D;  E;  Dfe;  CJJ*  etc.,  etc. 
(See  Appendix,  part  of  Exercise  XII.) 

Write  the  scales  of  the  relative  minors  to  C;  G;  D;  A;  E;  B» 
Fjt;  C3;  C;  F;  BtZ;  Ffe;  At;  Dfe;  GtZ;  CJZ.  (See  Appendix, 
Exercise  XII.) 

What  is  the  chromatic  scale  1 

The  chromatic  scale  consists  of  semitones  only. 


$ 


=i=3C 


Is  it  immaterial,  in  writing  the  chromatic  scale,  whether  you 
write  A fe,  or  G  Jf,  and  A  Jf,  or  Bfe  1 

No :  the  signature  must  be  attended  to ;  for  example, 
"with  three  flats,  you  must  not  write 


=g^    fl^     S^ 


-^ ps ^ n^ 


etc.. 


but  every  note  should  have  its  proper  situation  on  the 
staff,  according  to  the  signature ;  thus, — 


P 


:^ 


^^  &        t^LL 


etc. 


This  renders  fewer  accidentals  necessary. 

By  way  of  exercise,  write  the  same  passage  as  aboye  with  four 
sharps  as  the  signature. 


FORMATION  OF  THE   SCALE.  41 

In  order  to  draw  the  attention  to  the  subject  of  fingering,  it  is 
now  recommended  that  the  pupil  should  write  and  finger  all  the 
scales,  commencing  with  the  scale  of  C,  and  going  on  progressively 
as  far  as  the  scale  of  C  ff,  and  the  scale  of  C  fe,  ascending  and  de- 
scending two  octaves,  both  for  the  right  hand  and  the  left.  These 
should  be  first  written  upon  a  slate,  fingered,  and  when  corrected 
by  the  master,  copied  into  a  book  for  daily  practice.  The  major 
scales  should  be  written  on  one  side  of  the  book,  and  their  relative 
minors  on  the  opposite  page.  The  proper  sharps  or  flats  belonging 
to  each  scale  should  be  placed  as  the  signature  at  the  beginning, 
and  not  as  they  occur  in  the  scale,  excepting,  of  course,  the  sixth 
and  seventh  of  the  minor  scales,  which  require  raising  by  acciden- 
tals in  the  ascending,  and  contradicting  (on  account  of  being  written 
without  bars)  in  the  descending  scale.  (See  Appendix,  pages  5(>,  57, 
and  58.) 

In  fingering  the  scales  the  following  remarks  may  be  found 
useful :  — 

The  fingering  is  only  to  be  marked  upon  the  first  not€  of  the 
scale,  and  where  the  thumb  is  to  be  passed  under  the  fingers,  or  the 
fingers  over  the  thumb. 

In  the  ascending  scale  of  two  octaves  for  the  right  hand,  com- 
mence  with  the  thumb,  pass  the  thumb  under  the  second  finger, 
next  under  the  third  finger,  and  again  under  tlie  second,  which  will 
prepare  sufficient  fingers  to  ascond  to  the  top  of  the  scale. 

In  descending,  commence  with  the  fourth  finger,  pass  the  second 
finger  over  the  thumb,  next  pass  the  third  finger  over,  and  lastly, 
the  tecond  finger  over. 

When  the  scale  commences  with  a  black  key,  commence  with 
the  first  finger,  and  follow  the  foregoing  rule  as  closely  as  the  situa- 
tion of  the  black  keys  will  admit  of,  observing  that  neither  the 
thumb  nor  the  fourth  finger  must  be  placed  upon  a  black  key  in 
fingering  a  scale. 

In  the  ascending  scale  of  two  octaves  for  the  left  liand,  com- 
mence with  the  fourth  finger,  pass  the  second  finger  over  the 
thumb,  next  pass  the  third  finger,  and  lastly,  the  second  finger. 

In  descending  commence  with  the  thumb,  pass  the  thumb 
under  the  second  finger,  next  under  the  third  finger,  and  lastly, 
under  the  second  finger. 

The  situation  of  tlie  black  keys  will  render  it  necessary  to  com- 
mence in  some  scales  with  the  third,  second,  or  first  finger,  instead 
of  the  fourth ;  but  the  foregoing  rule  is  to  be  followed  as  closely  as 
circumstances  will  admit  of.     (See  Appendix,  pages  56,  57,  and  58.) 

No  scale  shoul  1  be  practised  till  it  has  been  inspected  by  the 
master. 

Nothing  can  be  more  generally  useful  than  the  daily  practice  of 
the  scales,  at  the  same  time  the  greatest  attention  is  requisite  on 
the  part  of  the  pupil  to  the  position  and  steadiness  of  the  hand,  as 
well  as  to  the  clearness  anu  connection  of  the  notes.  (See  Chap 
ter  IV.) 


CHAPTER    XL 


OP  VARIOUS   CHARACTERS   USED  IN   MUSIC. 
What  is  a  double  sharp  1    X 


A  double  sharp  raises 
What  is  a  double  flat  ?  tZfe 
A  double  flat  lowers 


I,  note  two  semitones* 


a  note  two  semitones. 


How  is  a  single  sharp  or  flat  replaced  after  a  double  one  ? 
By  means  of  a  natural  and  sharp,  or  a  natural  and 
flat. 


~^^    ga^ 


It 


As  a  dot  after  a  note  makes  it  half  as  long  again,  what  is  the 
use  of  a  second  dot  ? 

The  second  dot  is  equal  to  half  the  first;  conse- 
quently, a  crotchet  with  two  dots  is  equal  to  a  crotchet, 
quaver,  and  semiquaver. 


i 


Zf 


is  equal  to 


^'    ^P'    ^g 


As  semi  signifies  half,  and  breve,  short,  why  is  the  longest  note 
called  a  semibreve  ? 

A  semibreve  is  the  longest  in  present  use ;  but  there 
were  two  others,  formerly  called  a 


long, 


and  a  breve, 


What  proportion  does  a  semibreve  bear  to  them  ? 

A  long  is  equal  to  two  breves,  or  four  semibreves; 
consequently,  a  semibreve  is  equal  to  half  a  breve,  or  a 
quarter  of  a  long. 

Is  a  demisemiquayer  the  shortest  note  ? 


VARIOUS   CHARACTERS,  43 

No :  there  is  one  called  a  half  demisemiquaver,  made 
thus, —  ^ —  and  its  rests  thus, —  — ^  sixty-four 
of  these  are  equal  to  one  semibreve. 

In  what  manner  is  a  whole  bar  rest  marked  ? 

In  the  same  manner  as  a  semibreve  rest,  be  the  value 
of  the  bar  what  it  may. 


i 


W. 


In  what  manner  are  rests  for  more  than  one  bar  marked  ? 

A  rest  for  two  bars  is  made  from  one  line  to  the  next ; 
1^:=::    for  four  bars,  from  one  line  to  the 
next  but  one, — 


but  a 'figure,  expressive  of  the  number  of  bars,  is 
frequently  placed  over, —     zziizzzz:  and   when    the 

number  is  very  great,  figures  only  are  used, —       2  H 
In  what  manner  do  you  count  several  bars'  rest  ? 
By  naming  the  number,  instead  of  the  word  "one,'^ 

on  the  first  of  each  bar;  for  example, — 

6 


K 


ms: 


3E 


These  five  bars'  rest  should  be  counted, — 

1,  2,  3,    I    2,  2,  3,    I    3,  2,  3,    I    4,  2,  3,    |    6,  2,  3. 
instead  of  always  "  one,  two,  three/' 

What  is  melody  ? 

A  melody  is  a  succession  of  sounds. 

What  is  harmony  ? 

A  combination  of  sounds. 

Are  there  any  more  clefs  than  the  treble  and  the  bass  1 


H     This  clef  is  occasionally 


Yes:    the    C   clef, — 
placed  upon  either  of  the  four  lowest  lines  of  the  staff. 


44  VARIOUS   CHARAOTEKS. 

anl  gives  the  name  of  C  to  all  notes  on  the  same  line  as 

itself ;  the  other  notes  are,  of  course,  named  by  degrees 

from  it.     Its  situation  on  the  piano-forte  is  the  middle  C. 

When  this  clef  is  placed  upon  the  first  line  it  is  called 


the  soprano  clef  ;    .  JUI     ^~  when  upon  the  second  line, 


the  mezzo  soprano  clef;  ^j ^_i  when  ufou  the  third 

line,  the  alto  or  viola  clef ;  i|^|     ^~~.  and  when    upon 
the  fourth  line,  the  tenor  clef;  duE 

hMP 

Name  all  the  degrees  of  the  staff  according  to  these  clefs. 

Do  the  treble  and  bass  clefs  ever  change  their  situations  on  the 

staff? 

Yes:  in  very  old  music;  but  all  notes  on  the  line 

with  the  treble  clef  are  called  G ;  and  all  notes  on  the 

line  with  the  bass  clef  are  called  F. 

Give  examples  according  to  the  following  clefs. 


p— t^ —         ^ 


F 

What  is  the  difference  between  a  chromatic  and  a  diatonic  semi- 
tone ? 

A  chromatic  semitone  remains  on  the  same  degree  of 


the  staff,  and  is  called  by  the  same  letter ;  as  ^y.^^^i 
whereas  a  diatonic  semitone   changes  its  degrees  and 


name ;  thus, —  fi^    ^    \ri 


What  is  the  meaning  of  enharmoni<j  ? 

The  harmonic  diesis,  or  quarter  tone,  is  the  difference 
between  two  following  notes,  one  of  which  is  raised  and 
the  other  lowered  a  chromatic  semitone.     This  interval 


USED  IN  MUSIC. 


45 


caBnot  be  expressed  on  the  piano-forte,  from  its  con- 
struction; but  the  same  keys  must  be  struck  for  the 
sharp  of  the  lowest  note,  and  the  flat  of  the  highest. 


i8^ 


±at 


:4fic 


M 


CHAPTER  XII. 

OF  THE   COMMON  TERMS   RELATING  TO   TIME,   ETC. 

Explain  some  of  the  words  which  are   prefixed  to  pieces  of 
music,  to  express  the  time  and  manner  they  are  to  be  performed  in. 

They  are  very  indefinite ;  but  the  following  are  the 

most  common : 

Grave,      .  .  .  .In  the  slowest  manner. 

Adagio,  .  •  •  Very  slow. 

Largo  y       •  •  •  .     Slow. 

LarghettOf  •  •  •  Rather  less  slow  than  largo. 

ModeratOy .  •  •  .In  moderate  time. 

Cantabile,  .  .  •  In  a  singing  and  a  graceful  style. 

Andante,    .  •  •  ,     In  a  marked  and  distinct  manner 

Andantino,  •  •  •  In  a  flowing  style. 

Pastorale,  ,  .  •  .     In  a  pastoral  style. 

Maestoso,  .  .  •  Majestically. 

Allegro,     ....     Quick. 

Allegretto,  .  .  •  Not  so  quick  as  allegro. 

Vivace,      •  .  •  •     Lively. 

Presto, .  .  .  •  Very  quick. 

Prestissimo,  .  .  .As  quick  as  possible. 

In  conclusion,  the  author  begs  to  observe  he  does  not 

wish  it  to  be  understood  that  he  conceives  the  foregoing 

pages  to  contain  all  that  is  necessary  a  pupil  should  know ; 

many  things,  no  doubt,  have   been  inadvertently,  and 

others  have    been  intentionally   omitted,  as   it   is   his 

opinion,  that  persons  frequently  fail  entirely  of  attaining 

their  object,  by  attempting  too  much.     He  only  hopes 

that  those  pupils  who  thoroughly  understand  what  he  has 

endeavored  to  communicate  in  this  book,  will  not  be 

considered  the  most  deficient  among  the  numerous  stiv 

dents  of  the  piano-forte. 


APPENDIX. 


EXERCISE  I. 

Nam3  the  keys  of  the  piano-forte  1 

C,  CJorDfe,  D,  D  $  or  E  fe,  E,  P,  Fit  or  G^  O 

GSorAk,  AjASorBfe,  B,  C. 


EXERCISE  n. 

Is  F  Jf  (or  Bfe,  Cx,  etc.,  etc.)  a  black  key,  or  a  white  one  ? 

N.  B. — In  the  following  example  the  black  notes  are  used  to 
express  the  black  keys,  and  the  white  notes  the  white  keys. 

t^^^^j^^j^' .''",,.,11. 


$ 


$ 


:xCT  ^^,     .r"    \>\>a    l?''^->  =^ 


APPEITDIX. 

47 

EXERCISE 

III. 

TUKNS. 

A  must  be  made  with  B,    A,    Gtf,  A 

B          " 

n 

C*  B,   AS,  B. 

C 

(( 

D,    C,  B,    C. 

D         " 

(« 

E,    D,    C#,D 

E         " 

« 

F,    E,    D}t,E. 

-p            a 

(( 

G,  F,    E,    F. 

G 

(( 

A,  G,  F#,  G. 

At       " 

(( 

B,    A»,Gx,Aft 

Bfe       «* 

« 

C,    Bfe,A,   B|2. 

C« 

(( 

D,  C#,B«,Ctf. 

DS       " 

it 

E,   m,Gx,Dt. 

Efe       " 

(( 

F,    Efe,I>,    Efe. 

Ffe       " 

(t 

G|2,Ffe,Efe,F|2. 

Giz       " 

ti 

Afe,Gfe,F,    Gfe. 

EXERCISE  IV. 


Si 

?fS 

-'+t?-5- 

-fi^ 

S22: 

^s 

H^ 

^ 

"^ 

•x':?- 

rt  o 

llrV#S>- 

■5k^- 

iy\ — 

■«t^- 

LCC 

►3^ 

J 

A 

00 

1/ 

iSi 

/L 

f^ 

!t=l 

rts 

/<5 

-!ffi^- 

ff^ 

^^'j  .. — , 

■tt^o 

-tt^-D 

x^-^ 

¥f-^ 

Ph 

A 

}f^-> 

fr^rS 

y 

o^ 

yr 

•S»-^ 

ffVi 

tt^^ 

r^ 

««^ 

KA) 

"tf^^" 

-5^-^ 

•Itr^ 

X/<:> 

^H 

ft^ 

)e^- 

«<:> 

ft^-^ 

u  » 

J 

2^ 

/ 

fe^ 

S.^ 

f  '\ 

U^Tj 

I/O- 

;3l3 

K   ) 

•ir'n 

/O 

1f>^ 

•^e 

^aT 

B 

c 

D 

E 

F 

G 

ri 

BS 

CS 

Dtf 

*  The  siornatnre,  rlz.,  the  sharps  or  flats  at  the  beginning  of  the  piece  of  mnsie, 
will  del enniue  whether  the  ttjtjpernoteof  the  turn  ia  to  be  sharp,  flat,  or  natural, 
Iberef  ore,  in  the  present  exercise,  the  letter  only  of  the  upper  noie  need  be  namecL 

t  The  iatervate  aire  to  be  reckoned  from  these  Ictteri. 


48  APPENDIX. 

EXERCISE  rv.— Concluded. 


C3   O 


'A 


^s 


t^ 


fes 


ifel 


-«.s^ 


S^ 


^ 


^^ 


I^ 


5^ 


1^ 


^Z 


J22^ 


ll22Z 


4^ 


-g^ 


■c^ 


22: 


-^ 


fez 


i 


m=^^ 


ISZ 


Flf  GS 


Afe 


^ 


^s> 


i22z: 


b\T7^-Wi 


Cb 


Dfe 


Efe 


Fb 


Gb 


EXERCISE 

V. 

C   isA   minor: 

leading  note  of  A  is  G  ft. 

G   isE   minor: 

U                       ( 

'       D». 

D   is  B   minor: 

U                       i 

'       At 

A   is  F  ft  minor: 

U                       i 

'        E». 

E    is  C 8 minor: 

a               i 

'       BS. 

B   is  G  ft  minor: 

a               i 

'        Fx. 

FftisDftminor: 

(4                         ( 

'        Cx. 

CftisAftminor: 

U                      i 

'       Gx. 

C   isA  minor: 

U                      i 

'       G». 

F    isD   minor: 

U                      i 

'       CS. 

BfeisG  minor: 

a            ,    i 

F«. 

Efe  is  C   minor: 

U                      ( 

'       *B13. 

AfeisF  minor: 

U                       i 

Efl. 

Dl2:  is  B^  minor: 

U                      i 

'       AU. 

G  Iz  is  Et2  minor: 

a               i 

'        Dfl. 

CfeisAfeminor: 

U                       4 

'        Utl 

APPENDIX. 


49 


Wlien  the   pupil  is  thoroughly  acquainted  with  the 
foregoing  table,  the  question  should  be  reversed ;  thus, 
What  is  the  relative  major  of  A  minor  '^  etc.,  etc. 
Or,  in  other  words, 
Of  what  is  A  minor  the  relatire  1 


EXERCISE  Yl.—Tetrachords. 


irr 


ElgE|-r,^^— ^-^^^ 


ifesi 


I 


zfov^bcp  |] 


IZ2I 


-\rrr 


EXERCISE  VII. — Descending  tetrachords. 


I 


w 


~a^ 


:^=*2=^= 


m 


^^^=^^=¥^1 


■^^  ^2=$ 


i 


•g^-i??? 


EXERCISE  YJn—Scahg. 


::#= 


JKC^^ 


-X(g>  ■ 


=i^ 


^P^?-_J^- 


Z^^S- 


s 


d2sz: 


r 


itesi 


^^ 


EXERCISE  IX,— Descending  scales. 


^      \?FZr 


=fe 


^     b> 


^^> — fr?^ 


^ 


-ff=^  jf?^  jt^ 


^t^ 


'i'''^   gg^ii^ 


H 


60 


APPENDIX. 


w 

H 

M 
o 


5 


li^ 


I 


k^ 


I 


i 


-^ 


K\l 


s 


V 


ro 


APPENDIX. 


51 


f 


^ 


OQ 

o 


0 


3 


U 
^ 


iK 


H^ 


Im^ 


^ 

^ 


Eh 


ir 


O 


l^, 


0 


ii€b: 


±3 


A'2  ® 

P    O    I-. 

6  S-a 

C    S3   0) 

o  o 

111 

lis 

*•"  a 

in 

00  -t^  <M 


c3 


I 


62 


APPENDIX. 


EXERCISE   XII. 


MINOR  SCALES. 

A  minor,  relative  of  C. 


P 


v-^-i-^^ 


4f*- 


^ft*-E*^ 


E  minor,  relative  of  G. 


m 


^^^ 


B  minor,  relative  of  D. 


Fit  minor,  relative  of  A. 


P 


^^^ 


t — p^ 


0  Jt  minor,  relative  of  E. 


^ 


rfi^ 


G8  minor,  relative  of  B. 


^**= 


s 


[ilJiL**? 


APPENDIX. 


58 


EXERCISE  Xn.  — Continued, 


MINOR  SCALES. 

D  It  minor,  relative  of  F  jf. 


i 


^ 


"0== 


-K9~ 


rg^ 


A  ft  minor,  relative  of  C  ft. 


:gA_iL-^^- 


^S^ 


A  minor,  relative  of  C. 


D  minor,  relative  of  P. 


^ 


^^ 


^r^iL,*!' 


^ 


G  minor,  relative  of  Bj^. 


-17        .— 


^ 


^ 


^^ 


C  minor,  relative  of  E  t. 


^~m-^-^- 


^^^ 


64  APPENDIX* 

EXERCISE  XII.— CoNCLUDiu. 


MINOR  SCALES. 

F  imnor,  relative  of  Afe. 


fe&=;;^ 


^ 


m 


ffl 


-«-«- 


^^ 


B 12  minor,  relative  of  D  fe. 


f 


I 


Efe  minor,  relative  to  Gfe. 


=^ 


l^srpa: 


1?        .^- 


dja: 


^-g- 


r 


l!* 


i 


Afe  minor,  relative  of  C  fe. 


fe^,-t.     ,    A-* 


-B^ 


^ 


5=a= 


i=^ 


t 


This  diatonic  minor  scale  is  also  called  the  melodic  minor. 
THE  HARMONIC  MINOR  SCALE. 

The  minor  scale  appears  also  with  a  change  in  its  constniction ; 
namely,  that  the  sixth  is  not  raised,  contrary  to  the  rule  of  the 
formation  of  the  diatonic  minor  scale,  where  it  is  found  necessary 
to  raise  both  the  sixth  and  seventh  notes  ascending  (page  38). 
With  this  alteration  the  minor  scale  ceases  to  be  a  diatonic  scale, 
for  we  have  learned  (see  Chapter  X.)  that  the  diatonic  scale,  major 
or  minor,  consists  of  five  whole  tones,  and  two  semitones,  whereas, 
our  new  minor  scales  will  consist  of  three  whole  tones,  and  three 
semitones,  and  a  sharp  second,  which  is  an  interval  of  three  semi- 
tones ;  the  latter  occurs  between  the  sixth  and  seventh.  The  scale 
remains  the  same  ascending  and  descending.  There  seems  some- 
thing harnwnious  in  the  new  interval,  and  the  scale  is  therefore 
called  the  harmonic  minor  scale.  It  is  much  used  in  minor  pass- 
ages and  modulations.  Both  scales  are  freely  used,  separately,  and 
Intermixed.    Examples,  page  60. 


APPENDIX. 


65 


EXERCISE    Xra. 


A  diatonic     )  .     :« ;Rk 
lemitone  above  f 

A  diatonic 
semitone  below 

JA    isGJf, 

a             u 

'        B    isC. 

a           u 

B    is  Alt. 

u             n 

'        C    IsDfe. 

a           a 

C    isB. 

ii                    i4 

D    isEb 

ii           ii 

D    isC#. 

U                  6 

'        E    isF. 

ii           a 

E    isD«. 

U                  6i 

•        F    isGfc. 

ii           ii 

F    isE. 

U                  (4 

'        G    isAfe, 

a            a 

G    isF». 

u             a 

ASisB. 

a            ii 

A8is  Gx, 

u            u 

•        BSisCtf. 

a           ii 

BS  is  Ax. 

u            u 

•        CSisD. 

ii           ii 

CSisBJt. 

u            n 

DSisE. 

a           ii 

DJtisCx. 

u            u 

E»  is  F«. 

ii           a 

E«  is  Dx. 

u            n 

Ftt  is  G. 

ii           ii 

FJtisES. 

ii               n 

•        G#isA. 

ii           ii 

GtfisFx. 

ii            (4 

•        Afc  is  BHz. 

a           a 

AfeisG. 

a            n 

'        Bfe  is  Cfe. 

a           a 

Bfe  is  A. 

a            n 

•        CfeisDto:. 

a           a 

Cb  is  Bfe. 

a            i 

'        Dfe  is  Eaz. 

a           a 

DfeisC. 

a            u 

'        EfeisFfe. 

a           a 

E|2  is  D. 

u            n 

^        Ffe  is  Gto. 

a           a 

F|2  is  Efe. 

yt           n 

'        GtzisAfefc. 

a           a 

GfeisF. 

MAJOR  SCALES  AND  THEIR  RELATIVE  MINORS. 


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APPENDIX. 


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58 


APPENDIX. 


I 

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o 


m 
o 
o 


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l>  * 

ft    T 

1 

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f           1 

Tl 

The  foregoing  will  be  sufficient  to  show  the   general  form  of 

/riting  the  scales,  the  number  of  finger-marks  which  are  reqmsite^ 

ihe  accidentals  which  are  required  in  the  minor  scales ;  also,  one 

Instance  in  which  the  scale  for  the  left  hand  cannot  be  commenced 

vith  ♦he  fourth  finger. 


2d  appkndix. 


59 


o 
O 

(25 


o 

I— I 

o 

w 


t 


"^ 


O 

o 

o 
CO 


Pm 

V 


1  + 


1 


I' 


m 


-X 


o 


T 

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.-^ 

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4 

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1 

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ft    i. 

-- 

1 

-- 

4 

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^ 

^ 

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l| 

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1-- 1     y 

^ 

1     W        T 

b 

t 

•     f 

1 

1 

I'l     f 

b 

1 

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-  g   ^ 

-- 

4- 

-  i  1 

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-- 

4 

-  <       " 

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Q 

o        — 

) 

i- 1     T 

T^ 

ft    s 

-ft 

T^ 

o  o 
^.9 


In  the  harmonic  minor  scale  the  seyenth  only  is  raised,  ascending 
u  well  as  descending,  as  explained  on  page  54. 


dO 


2d  appendix. 


A  ebord  l8  the  union  of  sereral  harmonizing  sounds,    If  the  notes  of  a  chord  un 
not  played  together,  but  in  succession,  they  are  called  hi  oken  chords  or  arpeggios. 


g 

o 
W 

o 


u 
o 


C. 


.fcl 


m 


a 


I 

■I 


S| 


I 


CO      Q 

^  .id 

ti  o 
o.S 

a;  "73 


Fa 

IS 


The  principal,  or  foundation  of  all  chords  is  the  common  chord  ;  It  consists  of  thj 
Key-uote  (ti.xilc),  t^  major  or  minor Ihird,  and  the  perfect  fifth  (dominant). 


2d  appendix. 


SI 


=3 

.9 


The  right  hand  may  take  any 
really  changing  it ;  as  long  as  the 
bote,  the  chord  is  the  same. 


position  of  the  chord,  without 
left  hand  retains  the  same  basa 


62 


2d  appendix. 


« 

rll 

1 

5 

1 

1  «J 
4\  1 

4? 

1 

1 

1 

1  1 
If 

1 

il     I 

^ 

^ 

"^^   V 

q3 

>  a 

j-1 

1 

'jj\  V 

a- 

3i!        "C 

(3> 

:l 

2d  appendix. 


93 


CO 

o 

W 

o 
w 


The  chord  of  the  minor  seventh  is  the  fundamental  discord.  It 
Is  formed  by  adding  to  the  common  CJiord  the  minor  seventh,  con* 
tists  of  four  notes,  and  has,  therefore,  four  positions  or  three  inver- 
sions 


u 


2o  APSMSJOJX. 


:ti 


■*i 


i 


T"» 


This  seventh  chord  is  neither  called  major  or  minor,  as  it  is  a 
diBCord  which  must  resolve  itself  into  a  common  chord. 


2d  appendix. 


65 


66 


2d  appendix. 


DC 

o 


^ 


6 


2d  appendix. 


67 


CQ 
O 

o 
<1 


68  2d  appendix. 

ABBREVIATIONS. 

A  dash  over  a  whole  note,  or  through  the  stem  of  any  other  note, 
iignifies  that  the  note  is  to  be  divided  into  eighths. 

VTEITTEN. 


^      s^ 


A- 


A  double  dash  over  a  whole  note,  or  through  the  stem  of  any 
other  note,  signifies  that  the  note  is  to  be  divided  into  sixteenths. 

WKITTEN. 


One  stroke  across  two  half  notes  signifies  the  two  to  be  played  in 
succession  like  eighth  notes ;  two  strokes  across  two  half  notes  sig- 
nifies the  two  to  be  played  in  succession  like  sixteenths. 

WRITTEN.  MK^^ 


If  the  word  tremulando  or  trem  is  added,  they  are  to  be  played  as 
quickly  as  possible,  in  the  manner  of  a  trill. 

A  dash  aft^er  a  group  of  notes  signifies  the  same  to  be  repeated. 
A  dash  in  a  whole  measure  signifies  that  the  previous  measure  is  to 
be  repeated. 

WRITTEN.  ^      PpAT^D.  WRITTEN.  PLAYED. 


2d  appendix. 


ON  SOME  LICENSES. 

The  figure  3  placed  over  o?  under  three  quartern,  eighths,  six- 
teenths, or  any  other  kind  of  notes,  signifies  that  they  must  bo 
played  in  the  same  time  of  two  of  the  same  species,  of  course  a  little 
quicker. 


fiifuri'uf^^fi^-tti-^-^ 


^^^P 


^ 


E 


When  the  figure  6  is  placed  over  or  under  six  eighths,  or  six- 
teenths, or  any  other  kind  of  notes,  it  signifies  that  the  6  must  be 
played  in  the  time  of  four  of  the  same  species. 


The  composer  takes  also  sometimes  the  license  of  writing  5,  7,  9, 
or  any  number  necessary  to  complete  a  passage  or  run  within  a 
certain  time. 


^ 


i 


f=F=mf 


W^ 


* 


In  cadenzas  or  cadenza-like  passages,  the  composer  also  may  take 
the  liberty  of  giving  far  more  notes  than  the  time  of  the  measure 
allows. 


CZERNrS  LETTERS  TO  A  YOUNG  LADY. 


LETTER  L 

FIRST  RUDIMENTS  OP  THE  PIANO. 

Mt  Dear  Miss: — When,  some  years  ago,  I  had  tlie  pleasure  ot 
t)€ing  personally  acquainted  with  your  family,  I  discoYered  in  you  so 
decided  a  talent  for  music,  that  I  am  exceedingly  rejoiced  to  hear  you 
are  now  really  about  to  devote  yourself  to  the  delightful  art  of  playing 
the  piano-forte.  Your  memory,  at  that  time,  easily  retained  any  agree- 
able melody  which  you  heard;  you  manifested  a  natural  feeling  for 
time  and  musical  expression ;  and,  added  to  this,  your  delicate  fingers 
and  hands  possessed  all  the  natural  qualities  so  necessary  for  playing  the 
piano-forte  —  flexibility,  quickness  of  movement,  and  lightness  without 
being  either  too  weak  or  too  stiff. 

So  decided  a  disposition  and  inclination  for  this  fine  art  could  not,  in 
truth,  remain  long  dormant;  for  no  art  is  more  noble,  nor  more  surely 
indicative  of  general  mental  cultivation,  than  music ;  and  you  know  that 
piano-forte  playing y  though  suitable  to  every  x>ne  is  yet  more  particularly 
one  of  the  most  charming  and  honorable  accomplishments  for  young 
ladies,  and,  indeed,  for  the  female  sex  in  general.  By  it  we  can  com- 
mand, not  only  for  one's  self,  but  for  many  others,  a  dignified  and  appro- 
priate amusement ;  and,  where  great  progress  has  been  made,  we  also 
insure  a  degree  of  distinction  in  the  world  which  is  as  agreeable  to  the 
amateur  as  to  the  professional  artist. 

As,  on  account  of  the  distance  of  your  residence,  I  cannot,  alas! 
iatisfy  the  wish  of  your  horored  parents  by  undertaking  your  instruction 
in  person,  I  with  pleasure  impose  it  on  myself,  as  a  duty,  to  urge  you 
from  time  to  time,  by  letters,  to  still  greater  diligence ;  and  also  to  du'ect 
your  attention,  according  to  my  own  views,  to  all  that  may  facilitate  youi 
tuition,  and  accelerate  your  progress  ;  though,  on  the  part  of  the  very 
respectable  master  to  whom  your  instruction  is  confided,  all  will  unques- 
tionably be  d(ine  to  cultivate  jour  talent  iii  a  way  equally  tasteful  an<| 
•oUd 

70 


CZERNY'S  letters   to    k  YOUNG  LADY.  71 

I  beg  of  you,  therefore,  to  look  upon  my  remarks  merely  as  an  explan- 
wtory  repetition  of  what  will  haye  already  been  deliyered  o  you,  either 
verbally  or  in  my  Piano-forte  School;  and  my  end  will  be  fully  attained 
if  by  this  means  your  zeal  is  augmented,  and  the  time  and  labor  of  learn 
ing  abridged  and  facilitated. 

The  first  principles,  namely,  a  knowledge  of  the  keys  and  the  notes, 
are  the  only  really  tedious  and  unpleasant  points  in  learning  music. 
When  you  have  ODce  conquered  them,  you  will  every  day  experience 
more  and  more  amusement  and  delight  in  continuing  your  studies. 

Consider  the  matter  as  if  you  were  for  a  time  compelled  to  wend  your 
way  among  somewhat  tangled  and  thorny  bushes,  in  order  to  amve  at 
last  at  a  charming  prospect  and  a  spot  always  blooming  in  vernal  beauty. 

The  best  remedy  against  this  disagreeable  necessity  is,  to  endeavor  to 
fix  these  preliminary  subjects  on  your  memoiy  as  firmly  and  quickly  as 
possible.  Such  pupils  as  manifest,  from  the  very  outset,  a  desire  and 
love  for  the  thing,  and  who  strongly  and  rationally  apply  their  memories 
to  the  matter,  will  acquire  a  perfect  knowledge  of  the  keys  and  notes  in 
a  few  weeks ;  while  others,  frightened  at  the  apparent  tediousness  of  the 
acquisition,  often  lose  several  months  in  attaining  the  same  object. 
Which,  then,  of  these  two  ways  is  the  better  ? 

Before  anything  else,  I  earnestly  entreat  you  to  acquire  a  graceful  and 
appropriate  position,  when  sitting  at  the  piano-forte.  The  seat  which 
you  use  must  be  just  so  high  that  the  elbows,  when  hanging  down  freely, 
may  be  a  very  little  less  elevated  than  the  upper  surface  of  the  keys ;  and 
if  your  feet  should  not  reach  the  ground,  have  a  dwarf  stool,  or  ottoman, 
made  of  a  proper  height,  to  place  them  upon.  You  must  always  seat 
yourself  exa<jtly  facing  the  middle  of  the  key-board,  and  at  such  a  dis- 
tance from  it  that  the  tips  of  the  elbows  may  be  a  little  nearer  to  the 
keys  than  the  shoulders. 

Equally  important  is  a  graceful  position  and  carriage  of  the  head  and 
upper  part  of  the  chest ;  it  must  neither  be  stiff  nor  bent.  Some  of  my 
former  little  pupils,  whom  I  used  to  tease  with  the  reproach  of  making  a 
fat* a  back — that  is,  sitting  with  their  backs  bent  and  oblique  —  have,  in 
\ater  days,  thanked  me  for  the  strictness  which  I  showed  in  this  pai*ticu« 
lar. 

It  is  not  merely  that  an  awkward  position  is  disagreeable  and  ridicu- 
lous, but  it  also  impedes,  if  not  prevents,  the  development  of  a  free  ancS 
elegant  style  of  playing. 

The  fore  part  of  the  arm  (from  the  elbows  to  the  fingers)  should  form 
n  perfectly  straight,  horizontal  line ;  for  the  hand  must  neither  rise  up> 
ward  like  a  ball  nor  be  bent  so  as  to  slope  downward. 

The  fingers  aie  to  be  so  bent  that  the  tips  of  them,  together  with  that 


72         czerny's  letters  to  a  young  lady. 

of  the  thumb,  when  extended  outward  may  form  one  right  line,  «itd 
so  that  the  keys  may  always  be  struck  with  the  soft  and  fleshy  tips  of  th« 
fingers,  and  that  neither  the  nails  nor  the  flat  surface  of  the  fingers  snail 
touch  the  keys.  In  striking  the  black  keys,  the  fingers  must  be  stretched 
out  a  little  more ;  but  even  in  this  case  they  must  always  remain  suffi- 
cientlj"  bent. 

The  percussion  on  the  keys  is  effected  solely  by  the  fingers,  which, 
without  any  actual  blow,  must  press  each  key  firmly  down ;  and  in  doing 
this,  neither  the  hand  nor  the  arm  must  be  allowed  to  make  any  unneces- 
sary movements.  The  thumb  should  always  sti-ike  the  key  with  the 
external  naiTOW  surface,  and  in  so  doing  it  must  be  but  very  little  bent. 

The  white  keys  are  to  be  struck  on  the  middle  of  their  anterior  broad 
surfaces,  and  the  black  keys  pretty  close  to  their  nearest  extremities  or 
ends. 

You  must  take  great  care  that  you  do  not  strike  any  key  sidewise  or 
obliquely ;  as  otherwise  a  contiguous  and  wrong  key  may  chance  to  be 
touched,  and  in  music  nothing  is  worse  thsin  playing  wrong  notes. 

While  one  finger  strikes,  the  other  fingers  must  be  kept  close  to  the 
keys,  but  always  bent,  and  poised  quite  freely  in  the  air ;  for  we  must 
not  touch  any  key  befoi'e  the  moment  in  which  it  is  to  be  struck. 

The  most  important  of  the  fingers  is  the  thumb;  it  must  never  be 
allowed  to  hang  down  below  the  key-board ;  but,  on  the  contrary,  it 
should  always  be  held  over  the  keys  in  such  a  way  that  its  tip  may  be 
elevated  a  little  higher  than  the  upper  surface  of  the  black  keys ;  and  it 
must  stnke  fixjm  this  position. 

To  obsei-ve  all  these  rules  exactly,  it  is  re^'iisite  that  the  elbows  should 
never  be  too  distant  from  the  body ;  and  that  the  arms,  from  the  shoulder 
downward,  should  hang  freely,  without  being  pressed  against  the  body. 

The  necessity  of  all  these  rules  you  will  not  be  able  to  comprehend  till 
a  further  period. 

The  knowledge  of  the  notes  is  a  mere  affair  of  memory ;  and  for  every 
note  you  must  endeavor  to  find  and  strike  the  proper  key,  on  an  instant, 
and  without  the  least  hesitation.  In  music  this  constitutes  what  is  called 
reading  the  notes  ;  and  when  you  shall  have  acquii-ed  this  readiness,  you 
will  have  overcome  the  most  difficult  thing  which  elementary  objects  in 
music  will  be  likcl»'  to  present  to  you. 

At  first  you  wU\  naturally  learn  only  the  notes  in  the  treble  clef;  and 
for  this  purpose  we  may  employ  the  following  means : 

First,  When  you  look  at  a  note,  you  must  name  it  aloud,  and  then 
seek  for  and  strike  the  key  which  belongs  to  it. 

Sectmdlj/.    When  you  strike  at  hasard  any  white  key  on  the  treble  side 


CZERNT'S  letters  10  A  TOUNG  LADY.  73 

^  the  kej-board,  70a  must  lame  it  aloud,  and  seek  diiecUj  ^0^  the  note 
belonging  to  it. 

Thirdly.  After  having  struck  any  white  key  at  hazard,  yoii  must 
describe  aloud,  in  words,  on  what  line  or  in  what  space  the  note  belong, 
ing  to  it  must  be  written. 

Fourthly,  You  must  often  play  through,  slowly,  some  of  the  easiest 
pieces  for  beginners,  note  by  note,  and  with  great  attention,  naming  each 
mote  as  you  proceed. 

Fifthly,  I  must  also  recommend  you  o  adopt  the  following  expedi- 
ent :  since  you  are  already  much  advanced  in  writing,  as  it  becomes  a 
young  female  of  education  to  be,  you  must  learn  to  write  music.  The 
little  trouble  that  this  will  cost  you  will  find  amply  recompensed  by 
great  advantages.  Notes  are  much  easier  to  write  than  letters ;  and,  if 
you  daily  devote  a  short  quarter  of  an  hour  to  this  task,  in  a  couple  of 
weeks  you  will  become  sufficiently  expert  at  it. 

Your  teacher  will  give  you  the  instructions  requisite  for  this  purpose ; 
and  when  you  have  been  in  this  way  accustomed  to  place  the  notes  as 
they  come,  exactly  on  or  between  the  lines,  copy  out  daily  one  of  the 
easiest  elementary  lessons,  and  then  write  in  letters  over  each  note  its 
proper  denomination ;  after  which,  play  the  piece  over  slowly. 

When,  in  this  way,  you  have  learned  to  know  perfectly  all  the  notes  in 
the  treble  clef,  and  are  able  to  play  slowly  but  correctly,  with  both  hands, 
all  those  little  pieces  in  my  School  which  are  written  for  both  hands  in 
the  treble  clef,  then  take  the  base  notes,  and  proceed  with  them  just  in 
the  same  manner. 

You  must  practice  each  piece  paying  the  strictest  attention  to  the  fin- 
gering indicated,  till  you  are  able  to  execute  it  without  stopping  or  stum- 
bling. Each  day  you  should  read  through  a  couple  of  fresh  little  pieces, 
to  accustom  the  eye  and  the  fingers  to  the  various  and  ever  new  passages 
which  are  foi-med  by  means  of  the  notes. 

At  first,  after  each  note,  we  must  also  look  at  the  key  which  is  to  be 
struck ;  but  afterward,  when  we  have  attained  a  tolerable  certainty  in 
finding  the  keys,  it  is  better  to  fix  the  eyes  on  the  notes,  rather  than  on 
the  keys. 

And  now  allow  me  in  this  letter  tr  ->fifer  this  last  very  important  re- 
mark :  the  best  knowledge  of  the  notes  avails  us  veiy  little,  if,  at  th% 
tame  timCf  the  fingers  do  not  begin  to  develop  that  degree  of  flexibility 
which  is  requisite  for  striking  the  keys,  and  for  playing  in  general.  I 
therefore  most  earnestly  recommend  you  to  practise  daily,  ydih  untiring 
diligence  and  the  greatest  attention,  all  the  five-finger  exercises,  in  both 
hands,  which  you  will  find  at  the  beginning  of  my  Piano-forte  School 
and  which  your  in:«tructor  will  explain  to  jou,  in  order  that  your  smaL 


74         czerny's  letters  to  a  young  lady. 

and  delicate,  though  still  sufficiently  powerful  fingers,  may  speedily 
acquu-e  that  pliability,  independence,  and  volubility  whi'^h  are  absolutely 
necessary  to  playing. 

Do  not  be  alarmed  at  the  little  trouble  and  application  Ihat  this  ma^ 
require ;  try  three  or  four  times  eveiy  day,  for  at  least  a  quarter  of  an 
hour  each  time,  to  play  through  the  exercises  with  attention.  In  fact,  it 
is  as  impossible  to  play  the  piano-forte  well  with  stiff  and  untractable 
fingers  as  to  dance  well  with  stiff  and  untractable  feet.  Volubility  of 
■finger  is  one  of  the  chief  requisites  in  piano-forte  playing. 

It  is  veiy  proper  that  your  teacher  gives  you  an  hour's  lesson  every 
day.  If,  in  addition  to  this,  you  daily  dedicate  another  hour  —  or,  if 
possible,  two  hours  —  to  practising  by  yourself,  you  will  in  a  few  months 
have  forever  conquered  all  that  is  difficult  or  tedious  in  the  elementaiy 
branches  of  playing ;  and  you  will  each  day  see  augmented  the  pleasure 
which  the  delightful  art  of  music  so  richly  bestows  on  its  votaries. 

And  now,  farewell;  and  rejoice  me  soon  with  the  intelligence  of  your 
progress.  Yours,  etc 

LETTER  IL 

TWO  MONTHS  LATER.  —  ON   TOUCH,  TONE,  AND  THE  MODE  OF 
TREATING  THE  PIANO-FORTE. 

My  Dear  Miss  : —  I  have  just  received  your  welcome  letter,  and  learn 
from  it  that  you  have  already  made  considerable  progress  in  reading  the 
notes,  and  that  you  are  able  to  play  several  of  the  first  and  easiest  little 
pieces,  somewhat  slowly,  perhaps,  but  still  intelligibly. 

Continue  daily  to  decipher  a  couple  of  new  little  pieces,  and  at  the  same 
time  to  practise  still  more  those  which  you  have  already  learned,  so  that 
these  latter  ones  may  go  off  quicker  and  quicker,  and  that  you  may  each 
week  study  at  least  two  fresh  pieces.  For,  as  you  have  an  earnest  wish 
to  attain  to  a  high  degree  of  excellence  in  piano-forte  playing,  you  must 
look  upon  all  that  has  been  given  to  you  as  yet  only  as  a  means  to  that 
endf  and,  indeed,  as  that  means  which  will  conduct  to  this  end  a*  quickly 
and  as  agreeably  as  possible. 

I  could  not  refrain  from  laughing  a  little,  if  I  may  be  allowed  to  tell 
you  so,  at  your  complaining  to  me  how  much  your  master  vexed  and  tor- 
mented you  with  finger-exercises,  with  rules  relating  to  touch,  to  the 
position  of  the  hands,  to  clearness,  volubility,  etc.,  etc. 

"  Ah ! "  exclaim  you,  in  a  manner  quite  touching,  "  most  all  thii 
really  be  so  ? " 

Yes,  such  is  indeed  the  case ;  and  here  I  cannctt  assist  you.  Yoo* 
woithy  teacher  is  quite  right  in  be'ng  so  strict  as  to  all  these  points,  and 


czerny's  letters  to  a  young  lady.         75 

I  will  explain  the  reason  why.  From  cveiy  musical  instrament  we  nwy 
produce  either  a  fine  tone  or  a  detestable  one,  according  as  we  handle  it 
The  same  excellent  violin  which,  in  the  handa  of  a  clevei  plajei,  sounds 
so  delightfully,  will,  when  handled  by  a  clumsy  person,  yield  as  disagree- 
ible  sounds  as  if  a  number  of  kittens  were  squalling.  It  is  the  same  with 
the  piano-forte.  If  it  is  not  properly  handled  by  the  player,  or  if  we 
merely  thump  and  bang  the  keys,  the  best  instrument  will  sound  hard 
and  unpleasant.  On  the  other  hand,  if  we  employ  too  little  foi-ce,  or  do 
not  know  how  to  use  this  power  in  a  proper  manner,  the  tone  will  be 
poor  and  dull,  and  the  performance  unintelligible,  and  without  soul  or  ex- 
pression. 

The  interior  mechanism  of  the  keys  is  such  that  the  strings  wiU  only 
Bound  well  when  we  — 

First,  Strike  each  key  perpendicularly;  that  is,  sti*aight  downward 
and  exactly  in  the  middle,  and  therefore  not  sidewise  and  obliquely. 

Secondly.  When,  after  the  percussion,  each  key  is  so  firmly  pressed 
down  as  to  cause  the  full  tone  of  the  instrument  to  be  audible. 

Thirdly,  When,  before  the  percussion,  we  do  not  raise  the  finger  too 
high ;  as  otherwise,  along  with  the  tone  there  will  be  heard  the  blow  on 
the  key. 

Fourthly.  When  the  hand  and  arm,  even  when  sti-iking  with  coa- 
sidei-able  force,  do  not  make  any  jumping,  chopping,  ot  oscillating 
movement;  for  you  will  find  that  the  fingers  cannot  fossibly  play 
pleasantly  and  tranquilly  when  the  hands  and  arms  are  unst  ;ady. 

Fifthly  and  lastly.  When  the  player  observes  all  these  rules  in  rapid 
runs,  or  even  in  skips  and  extensions,  as  strictly  as  in  skiw  and  quiet 
passages. 

All  the  finger-exercises,  and  particularly  the  scales^  have  no  other  end 
than  to  accustom  the  fingers  to  the  application  of  tl  ese  rules  so 
thoroughly  that  the  player  shall  pi-actise  all  that  he  studies  in  futui« 
strictly  according  to  the  principles  we  have  given. 

**Ah!  the  scales"  you  write  to  me;  **that  is  truly  a  tedious  stoiy! 
Are  these  things  then  really  as  necessary  as  my  teacher  saye  ?  " 

Yes,  my  dear  Miss,  these  scales  are  the  most  necessary  poitM  of  all,  not 
only  for  beginners,  but  even  for  pupils  who  ai-e  much  advanceJ ;  and,  in- 
deed, the  most  expert  players  do,  and  must,  constantly  have  /ecourse  to 
and  practise  them.  Permit  me  to  demonstrate  this  to  you,  as  I  know 
that  you  have  a  good  understanding  and  are  fonrl  of  reflecting. 

You  know  already  that  the  passing  of  the  thumb  under  tl.©  other 
fingers,  and  of  the  three  middle  fingers  over  the  thumb,  is  dissolutely 
necessary,  and  that  it  is  the  only  means  by  which  we  are  ^iitbled  te 
Strike  a  long  series  of  keys  quickly  one  after  the  otiier. 


76         czerny's  letters  to  a  tc/ung  ladt. 

But  this  passing  of  the  thumb  and  fingers,  even  in  the  most  rapiij 
passages,  must  be  effected  in  a  manner  so  natuiT.1,  equal,  and  unlabored, 
that  the  hearer  shall  not  be  able  to  distinguish  the  smallest  intenniption 
or  inequality.  This,  however,  is  almost  the  gi*eatest  difficulty  in  piano- 
forte playing ;  and  it  is  possible  only  when  neither  the  arm  nor  the  hand 
makes  the  smallest  movement  upward  or  sidewise,  and  when  the  jointa 
of  all  the  fingers  attain  gradually  and  by  long  pi'actise  so  great  a  degree 
of  flexibility  and  address,  that  in  a  rapid  ran  over  the  key-board  one  ia 
almost  tempted  to  think  that  the  player  has  at  least  fifty  fingers  on  each 
hand.  To  attain  this  highly  necessary  propei-ty,  there  is  no  other  means 
than  the  most  diligent,  uninterrupted  daily  practice  of  th«  scales  in  all 
the  keys. 

But  these  scales  have  many  other  various  uses.  There  are  few  musical 
compositions  in  which  they  are  not  introduced  by  the  author  in  some 
shape  or  other.  In  every  piece,  whether  written  to-day  or  one  hundred 
years  ago,  they  are  the  principal  means  by  which  eveiy  passage  and 
every  melody  is  formed.  The  diatonic  scales,  or  the  chords  broken  into 
arpeggios,  you  will  everywhere  find  employed  innumerable  times. 

You  will  now  easily  imagine  what  an  advantage  it  gives  a  player  when 
he  is  perfectly  acquainted,  in  all  the  keys,  with  these  fundamental 
PASSAGES,  from  which  so  many  others  are  derived ;  and  what  a  command 
over  the  entire  kej^-boai-d,  and  what  an  easy  insight  into  any  musical 
piece,  he  gains  thereby. 

Further,  no  property  is  more  necessaiy  and  important  to  the  player  than 
a  vrell-deYeloTped  Jlexibiliti/y  lightness^  and  volubility  of  the  fingers.  This 
cannot  be  acquired  in  any  way  so  quickly  as  by  the  practise  of  the 
scales.  For,  if  we  were  to  try  to  attain  those  qualities  by  the  merely 
studying  of  different  musical  compositions,  we  should  spend  whole  years 
to  accomplish  our  pui*pose.  Many  beautiful  pieces  require  to  be  executed 
in  a  very  quick  degree  of  movement,  and  with  great  volubility  of  finger. 
But  how  tiresome  and  detestable  would  not  these  same  pieces  sound  if 
played  slow,  stiff,  and  unequal !  And  even  those  compositions  which  are 
slow  on  the  whole,  still  contain  many  occasional  rans  and  embellishmenta 
which  require  great  rapidity  of  finger.  All  these  he  has  already  con- 
quered who  is  able  to  play  the  scales  well  and  with  sufficient  quickness. 

At  prejent  you  cannot  form  an  idea  of  the  beauty  and  effect  which 
is  produced  by  a  pure,  clear,  rapid,  and  strictly  equal  execution  of  such 
runs ;  they  are  musical  rows  of  pearls ;  and  many  great  artists  are  more 
particularly  distinguished  on  account  of  their  peculiar  excellence  in  t!i« 
performance  of  them.  You  will  no  doubt  have  already  remarked  that 
correct ^w^crtn^  is  a  yery  important  part  of  pianr  -forte  playing,  and  on« 
which  costs  eveiy  pupil  a  g  ^d  deal  of  labor.    Now,  the  scales  contain  al] 


czerny's  letters  to  a  toung  ladt.         77 

ttie  principal  rules  of  fingering,  and  they  are  in  themselves  sufficient,  in 
almost  all  cases,  to  show  the  pupil  the  right  path.  What  do  you  say  to 
all  these  advantages  ?  Js  it  not  well  worth  the  while  to  occupy  yourself 
seriously  with  these  same  tiresome  scales  ? 

I  must  now  tell  you  in  what  way  you  ought  to  pix)ceed  to  do  this.  For, 
if  itvdied  in  a  wrong  manner ^  the  scales  may  pixjve  as  injurious  as  they 
are  capable  of  being  sei'viceable  when  properly  practised.  You  know 
that  the  five  fingers  are  by  no  means  equal  to  each  other  in  natural 
Btrcngth.  Thus,  for  example,  the  tliumb  is  much  stronger  than  any  of  the 
other  fingers ;  the  first  finger  is  much  stronger  than  the  little  finger ;  and 
the  third  finger,  on  the  contrary,  is,  with  almost  every  person,  the  weak- 
est of  all.  The  pianisty  however,  must  know  how  to  employ  these 
various  degrees  of  power,  so  that  in  playing  the  scales  all  the  fingers  may 
strike  their  appropriate  keys  with  perfect  equality  of  strength  ;  for  the 
scales  sound  well  only  when  they  are  played  in  eveiy  respect  with  the 
most  exact  equality. 

This  equality  is  threefold ;  namely: 

First,     Equality  of  strength. 

No  one  note  ought  to  sound,  in  tiie  smallest  degree,  louder  than 
another,  whether  it  be  sti'uck  with  the  thumb,  or  the  first,  second,  third, 
or  little  finger. 

Secondly.    Equality  in  point  of  quickness. 

Each  note  must  follow  the  preceding  one  strictly  in  the  same  degree  of 
movement,  whether  we  play  the  scales  slow  or  quick. 

Thirdly  and  lastly.    Equality  in  holding  the  notes  down. 

No  key  must  be  held  down  for  a  longer  or  shorter  time  than  the  rest; 
that  is,  each  finger  must  onl}'  keep  its  key  pressed  down  till  the  following 
one  is  struck,  and  it  must  then  be  taken  up  exactly  at  the  very  moment 
that  the  next  finger  comes  in  contact  with  its  key.  This  must,  of  course, 
also  be  observed  in  passing  the  thv^^nb  under  the  middle  fingers,  or  in 
passing  the  latter  over  the  thumb. 

If  we  offend  even  agahist  only  one  of  these  three  principal  rules  the 
equality  and  beauty  of  the  run  is  destroyed,  and  the  utility  of  the 
practise  lost.  Each  scale,  therefore,  must  be  practised  first  with  the 
right  hand  only,  and  then  with  both  hands,  and,  atfirsty  extremely  slow, 
alwa3"8  consulting  the  judgment  of  your  teacher,  or  taking  the  counsel  of 
your  own  good  ear,  as  to  whether  the  fingers  sufficiently  observe  all  the 
rules. 

From  week  to  week  you  must  increase  the  degree  of  rapidity,  till  at 
last  all  the  fingers  are  *in  a  condition  to  fly  over  the  keys  with  lightness, 
firmness,  and  distinct  and  beautiful  execution.  Every  day,  when  yon 
•eat  yourself  at  the  piano-iorte,  let  the  scales  be,  for  one  half-hour  tha 


78         czerny's  letters  to  a  toung  lady. 

first  thing  which  you  attack;  as  by  his  means  the  fingers  will  be  got  in 
readiness  for  everything  else. 

But  I  will  not  torment  you  longer  to-day,  for  I  :.op8  soon  again  tc  r©« 
ceiye  intelligence  of  your  fuither  progress,  and  I  remain, 

.  Yours,  etc. 


LETTER  HL 

TWO    MONTHS    LATER.  — ON    TIME,   SUBDIVISION   OP    THE  NOTES,  AN1> 
FINGERING. 

Mr  Dear  Miss  :  The  intelligence  of  your  further  progress  rejoiced 
me  very  much. 

Your  fingers  already  begin  to  develop  a  well-regulated  flexibility; 
your  touch  and  execution  are  no  longer  heavy  and  sluggish ;  the  finger- 
exercises,  the  runs,  and  scale-passages  go  off  tolerably  quick,  light,  and 
equal;  and  lastly,  you  already  play  several  dozen  little  pieces  without 
faults,  and  generally  without  stumbling.  You  see  that  a  reasonable  de- 
gree of  diligence  and  obedience  to  the  precepts  of  your  teacher  will  soon 
be  rewarded  by  the  most  pleasing  results. 

The  difficulty  which  the  observance  of  the  j^,  IS|,  fc  ^,  and  fe!?  stiD 
causes  you,  will  soon  disappear,  if  you  firmly  apply  your  memory  to  this 
point,  and  if  you  constantly  take  good  notice  of,  and  learn  quickly  to 
retain,  the  marks  of  transposition  which  are  indicated  at  the  beginning 
«f  each  piece,  as  well  as  those  which  occur  accidentally  in  the  bar. 

But  the  time,  and  the  subdivision  of  the  notes,  cause  you,  as  you  write 
to  me,  still  much  trouble ;  and  we  will  therefore  treat  a  little  on  this 
subject  to-day 

The  subdivision  of  the  notes  in  music  is  a  thing  so  certain  and  so  posi- 
tively determined  that  we  cannot  well  commit  a  fault  against  it,  if  vw 
give  to  each  note  and  rest  its  exact  value,  and  if  in  so  doing,  we  consult 
the  eye  rather  than  the  ear.  For  the  eye  always  sees  aright  when  it  ia 
supported  by  the  memory ;  but  the  ear  by  itself  may  very  often  be  de- 
ceived, particularly  in  beginners. 

The  duration  of  the  notes  is,  as  you  know,  expressed  by  the  fingers 
being  held  doion  on  the  keys ;  that  of  the  rests,  on  the  contrarj',  by  th« 
fingers  being  kept  off  the  keys,  and  free ;  and  we  must  take  care  not  to 
confound  these  two  things ;  for  each  note  must  be  held  exactly  as  long 
as  its  prescribed  value  requires,  and  the  key  must  not  be  quitted  either 
sooner  or  later.  Simple  and  easy  as  this  rule  appears,  it  is  often  sinned 
against  by  mw  eh  better  players  than  yourself.  This  arises  from  the  cir- 
•umstapce  that  most  persons  are  neglectful  on  this  head  when  they  art 


czerny's  letters  to  a  young  lady.         79 

Irst  tau'Ht;  partly  out  of  carelessness,  and  partly,  also,  because  the 
holding  down  of  the  keys  appears  tiresome  and  inconvenient;  or,  on  the 
oontraiy,  sometimes  because  the  fingers  are  too  unapt  and  sluggish  to 
qnit  the  key  at  the  right  moment. 

Those  who  hold  down  the  keys  too  long^  accustom  themselves  to  • 
fingering,  adhesive,  indistinct,  and  often  discordant  manner  of  playing 
Those  who  quit  the  keys  too  sooriy  fall  into  an  unconnected,  broken  style 
of  playing,  which  is  without  melody,  and  which,  at  last,  degeueratee 
into  mere  hacking  and  thumping  the  ke>s.  That  both  modes  will  con- 
duct us  into  the  wrong  path,  I  need  not  further  explain  to  you. 

The  art  of  subdividing  the  notes  consists  in  introducing  the  quickf^r 
notes,  exactly  at  the  right  moment,  among  the  longer  ones. 

But  as  groups  of  notes  occasionally  occur  which  must  be  played  very 
quickf  if  we  are  to  observe  the  exact  movement  and  the  length  of  the 
bar,  you  will  see  how  necessary  it  is  that  the  fingers  should  early  be  ac- 
customed to  play  with  readiness  and  rapidity.  For  without  this,  even 
with  the  best  knowledge  of  the  subdivision  of  notes,  we  are  at  eveiy  mo- 
ment in  danger  either  of  lagging  behind  in  the  time,  or  of  scrambling 
over  these  quicker  notes  in  any  way  we  best  can. 

Ycu  perceive  here,  again,  that  the  diligent  practise  of  finger-exercises 
and  scales  is  of  the  highest  importance ;  for  the  quick  perception  of  the 
different  values  of  the  notes  requires  not  only  a  practiced  eye,  while  for  . 
the  rapid  and  correct  execution  of  them  we  also  require  a  well-practised 
finger. 

It  is  of  great  advantage  to  you  that,  in  every  piece,  your  worthy 
teacher  either  counts  aloud  each  separate  bar,  or  beats  the  time  with 
a  pencil  or  bit  of  stick,  by  which  you  are  compelled  to  continue  always 
in  the  right  time. 

Equally  useful  is  it,  that  you  have  already  studied  several  easy  pieces 
as  duets  for  four  hands,  occasionally  playing  the  lower,  or  base  part. 

The  two  following  capital  points  are  most  essential,  and  must  not  be 
overlooked. 

First,     Strictness  in  taking  the  right  notes. 

For  every  false  note  is  also  a  dissonant  note,  which  generally  scundi 
Tcry  disagreeably,  and  strikes  as  unpleasantly  on  the  ear  as  a  spot  of  ink 
on  a  white  frock  does  on  the  eye, 

Secondly,     Correctness  in  keeping  time. 

For,  without  time,  music  is  unintelligible,  and  lost  on  the  hearer. 

To  correctness  in  playing  belong  attention,  tranquillity,  a  good  position 
of  the  hands,  con-ect  figunng,  and  the  requisite  habit  of  striking 
every  key  in  th€  micdle  of  ita  breadth,  so  as  not  to  touch  any  contiguoil 


fcO         czernt's  letters  to  a  young  ladt. 

To  keeping  time  belonor  also  the  following  points : 

At  the  first  deciphering  of  a  new  musical  piece  the  beginner  cannoti 
of  course,  easily  play  in  time ;  since  he  must  bestow  great  attention  on 
taking  the  notes  correctly ^  and  on  the  fingering,  and  must  stop  at  each 
wrong-taken  key,  to  set  himself  right.  As  soon,  however,  as  this  is 
amended,  he  must  endeavor  to  play  through  the  piece ;  at  first  slowly,  in- 
deed, and  then  continue  to  practise  it  till  he  can  go  through  it  as  quickly 
as  the  composer  has  indicated. 

If  you  can  accustom  yourself,  while  playing,  to  count  aloudy  it  will  be 
exceedingly  advantageous  to  you.  But  this  is  difficult  to  manage,  be- 
cause, by  so  doing,  freedom  of  playing  is  apt  to  be  impeded ;  and,  be 
sides,  we  easily  fall  into  the  error  of  counting  unequally.  When  you 
practise  alone,  therefore,  it  will  be  best  only  to  count  in  idea,  and  to  con- 
sult your  ear  with  great  attention,  in  order  to  recall  to  your  mind  how  the 
piece  sounded  while  your  teacher  was  present.  Beating  the  time  with  the 
foot  cannot  well  be  recommended,  because  it  often  settles  into  a  bad  habit. 

When  long  rests  occur  in  both  hands,  counting  mentally,  or  aloud,  is 
exceedingly  necessary ;  for  you  know  that,  in  eveiy  musical  composition, 
each  bar  must  occupy  exactly  the  same  portion  of  time  as  the  rest, 
whether  it  consists  of  notes  or  rests. 

Hitherto,  I  have  only  spoken  of  that  sort  of  keeping  time  in  which  we 
neither  come  to  a  standstill,  nor  omit,  nor  pass  over  anything.  But 
there  is  another  sort  of  keeping  time,  in  which  we  may  observe  all  this 
very  coiTcctly,  and  yet  commit  errors  against  time. 

These  faults  consist  in  this ;  that,  in  the  course  of  the  piece,  we  either 
continually  play  quicker  and  quicker ^  or  slower  and  slower  ;  or  else,  that 
we  sometimes  play  too  quick,  and  then  again  too  slow. 

Into  the  error  of  accelerating  the  time,  just  such  young  and  lively  per- 
sons as  yourself  are  most  apt  to  fall ;  and  who  knows  whether  I  have  not 
guessed  right  when  I  imagine  that  you  sometimes  begin  a  piece  which 
goes  off  pretty  fluently  at  first,  very  quietly  and  sagely ;  but  then,  be- 
coming excited  as  you  go  on,  you  play  quicker  and  quicker,  and  at  last 
finish  with  such  rapidity  as  if  your  fingers  were  holding  a  runaway  pony  ? 
Have  I  not  guessed  right  ? 

To  avoid  this  you  must  practise  even  those  pieces  which  you  already 
play  well  as  composedly  and  as  attentively  as  when  you  first  began  to 
study  them ;  and  in  so  doing  you  must  not  allow  the  fingers  to  indulge 
their  own  fancies,  or  to  be  in  the  least  degree  inattentive.  For  the  fingers 
are  little  disobedient  creatures,  if  they  are  not  kept  well  reined  in ;  and 
they  are  apt  to  run  off  like  an  unbroken  colt,  as  soon  as  they  have  gained 
some  degree  of  fluency. 

The  opposite  fault  of  hanging  back^  or  dragging  in  the  time,  generally 


czerny's  letters  to  a  young  lady.    81 

proceeds  from  our  having  begun  too  fast ;  and  by  that  means  stumbling 
against  difficulties  which  we  cannot  oveixicme  in  that  quick  degree  of 
movement. 

Hence  this  capital  rule ;  Never  begin  apiece  quicker  than  you  can  with 
certainty  go  on  vfith  it  to  the  very  e7id. 

There  are  exceptions  to  this  rule,  which  you  will  be  taught  by  and  by, 
when  you  learn  the  higher  branches  of  expression  and  execution. 

You  will  already  have  remarked  how  necessary  coiTCct  fingering  is  in 
playing.  A  single  ill-chosen  finger  may  often  cause  the  complete  failure 
of  a  whole  passage,  or  at  least  make  it  sound  coarse,  unequal,  and  disa- 
greeable. As  doubtless  you  have  studied  all  the  elementaiy  pieces  ex- 
actly with  the  fingering  indicated,  your  fingers  are,  to  a  certain  degree, 
already  accustomed  to  a  regular  system  of  fingering.  But  as,  in  other 
compositions,  you  may,  by  and  by,  be  often  in  doubt  on  this  head,  I  will 
impart,  by  the  way,  a  few  rules  on  this  subject  as  to  what  must  be  06- 
terved  or  avoided  in  every  regular  system  of  fingering. 

First.  When  several  keys  are  to  be  played,  one  after  another,  either 
in  ascending  or  in  descending,  and  that  five  fingers  are  not  sufficient  for 
this  purpose,  the  four  longer  fingers  mu^  never  be  turned  over  one 
another ;  but  we  must  either  pass  the  thumb  under ^  or  pass  the  three  mid- 
dle fingers  over  the  thumb. 

Secondly.    The  thumb  must  never  be  placed  on  the  black  keyi. 

Thirdly.  We  must  not  strike  two  or  more  keys  one  after  another  with 
the  self-same  finger ;  for  each  key  must  always  retain  its  own  finger. 

Fourthly,  In  runs,  the  little  finger  should  never  be  placed  on  iie 
black  keys. 

Fifthly.  In  chords  and  wide  extensions,  however,  the  thumb,  as  well 
as  the  little  finger,  may  occasionally  fall  upon  the  black  keys. 

Sixthly.  The  fingering  given  for  the  scales  must  be  resorted  to  every 
where,  and  as  much  as  possible. 

Seventhly.  At  each  note  that  we  strike,  we  must  consider  whether,  for 
the  following  notes,  the  apppropriate  fingers  stand  in  readiness. 

In  general,  that  mode  of  fingering  must  be  chosen  by  which  we  may 
most  easily  and  naturally  be  able  to  maintain  a  tranquil  and  fine  positioa 
of  the  hands,  a  firm  and  perpendicular  percussion,  as  well  as  a  correct 
holding  down  of  the  keys  and  a  beautiful  and  connected  performance  of 
the  melody  and  of  the  scaies  and  runs. 

I  am  so  convinced  that  an  exact  observance  of  what  I  have  hithw<  ^ 
laid  doirn  will,  in  a  short  time,  enable  you  to  conquer  all  elemeataiy  dif- 
ficulties, that  I  trust,  in  my  next  intelligence  frorp  you,  to  r'/^eive  the  as* 
iu ranee  (rf  this  being  the  case;  and,  ir  ^'  ^>v^^  anticipation,  ] 
remain.  Yours,  etc 


82         czerny's  letters  to  a  toqnq  ladt. 


LETTER  IV, 

TUBEB  MONTHS  LATER.  —  ON  EXPRESSION,  AND  GRACES  OB 
EMBELLISHMENTS. 

Hate  I  not  already  told  you,  my  industrious  little  girl,  that  tlw 
lealous  practise  of  all  the  finger-exercises,  and  the  quickly  studying  of  a 
good  many  musical  pieces,  would  soon  bring  you  very  forward  ?  Yon 
write  to  me  that  your  fingers  have  already  acquired  very  considerable 
facility  and  certainty ;  that  you  now  begin  to  study  pieces  of  more  im- 
portance, development,  and  difficulty ;  that  you  are  already  able  to  play, 
at  sight,  many  short,  easy  movements  intelligibly  and  without  stopping; 
and  that  even  keys  with  a  good  many  sharps  or  flats  do  not  easily 
confuse  you.  Allow  me  to  assure  you  that  I  did  not  expect  less  from  your 
industiy  and  talent,  and  from  the  well-directed  endeavors  of  your  very 
respectable  teacher. 

You  are  now  arrived  at  the  epoch  where  the  art  begins  to  proffer  you 
true,  noble,  and  intellectual  pleasures,  and  in  which  the  new  and  con- 
tinually more  and  more  beautiful  compositions  with  which  you  will  now 
become  acquainted,  will  give  you  an  idea  of  the  inexhaustible  riches  aad 
variety  in  music. 

But  do  not  neglect  to  still  continue  practising,  with  equal  or  even 
greater  zeal,  the  finger-exercises,  and  especially  the  scales  in  all  the  keys. 

The  utility  of  this  accessory  practice  is  infinite ;  and,  in  particular,  the 
diatonic  and  chromatic  scales  possess  peculiar  properties,  which  even  the 
most  skillful  players  have  yet  to  fathom.  I  also  request  you  most  earn- 
estly, while  you  are  studying  new  pieces,  not  by  any  means  to  forget 
those  already  learned,  not  even  the  earliest  ones. 

New  pieces  serve  hut  little  if^  on  their  account^  the  preceding  ones  are 
forgotten. 

For  the  adroitness  and  expertness  of  the  fingers,  the  eyes  and  the  eaii 
must  of  necessity  repose  firmly  and  fundamentally  on  the  experience 
which  we  have  already  gained ;  while  these  qualities  are  to  be  enlarged 
and  refined  by  new  acquisitions.  If,  for  example,  you  forget  a  piece 
which  it  took  you  three  weeks  to  learn,  these  three  weeks  are  as  good  as 
lost.  You  should  therefore  1 5tain  as  a  sort  of  absolute  property,  aH  the 
pieces  you  have  e^er  learned ;  keep  them  safely,  and  never  lend  or  give 
them  away. 

**  Yes,"  say  you,  *  if  it  did  not  take  up  so  much  time  to  contluat 
practising  what  I  have  already  learned,  and  &lso  to  study  new  pieces." 


czerny's  letters  to  a  young  lady.         83 

My  dear  Miss,  you  cannot  .magine  what  may  be  effected  in  one  single 
day,  if  we  properly  avail  ourselves  of  the  time. 

If,  with  a  fixed  determination  to  excel  on  the  piano-forte,  fou  dedicate 
to  it  daily  only  three  hours,  —  of  which  about  half  an  hour  shall  be  appro- 
priated to  the  exercises,  as  much  more  to  pla3'^ing  over  the  old  pieces,  and 
the  remaining  time  to  the  study  of  new  compositions,  —  this  will  assuredly 
enable  you,  by  degrees,  to  attain  a  very  commanding  degree  of  excellence, 
without  necessarily  obliging  you  to  neglect  your  other  pursuits. 

Your  instructor  has  already  accustomed  you  to  observe,  in  general,  the 
marks  of  expression,  as,  forte,  piano,  legato,  staccato,  etc.  The  more 
you  begin  to  overcome  all  the  mechanical  difficulties  of  piano-forte  play* 
ing,  the  greater  the  attention  you  must  give  to  this  important  subject, 
expression. 

Expression,  feeling,  and  sensibility  are  the  soul  of  music,  as  of  every 
other  art.  K  we  were  to  play  a  piece  of  music  with  exactly  the  same  de- 
gree oi  forte  or  piano  throughout,  it  would  sound  as  ridiculous  as  if  we 
wei-e  to  recite  a  beautiful  poem  in  the  same  monotonous  tone  in  which  we 
are  used  to  repeat  the  multiplication  table. 

In  every  composition,  the  marks  of  expression,  f,  p.,  cres.,  dim., 
legato,  staccato,  acceler.,  ritard.,  etc.,  ai"e  so  exactly  indicated  by  the 
composer  that  the  performer  can  never  be  in  doubt  where  he  is  to  play 
loud  or  soft,  increasing  or  decreasing,  as  to  tone,  connected  or  detached, 
hurrying  onward  in  the  time  or  holding  it  back. 

The  same  exactitude  with  which  you  are  obliged  to  observe  the  notes, 
the  marks  of  transposition,  the  fingering,  and  the  time,  you  must  likewise 
employ  with  regard  to  the  marks  of  expression. 

But  the  most  difficult  part  of  the  business  is  always  to  observe  the 
proper  medium  at  each  mark  of  expression ;  for  you  already  know  that 
there  is  gi-eat  diversity  in  the  shades  and  degrees  oi forte,  piano,  legato, 
staccato,  accelerando,  and  ritardando. 

The  utmost  fortissimo  should  never  degenerate  into  mere  hammering 
and  thumping,  or  into  maltreating  the  instrument. 

Similarly,  the  most  gentle  pianissimo  ought  never  to  become  indistinct 
and  unintelligible. 

You  possess  an  excellent  piano-foi'te,  by  one  of  our  best  makers ;  and 
you  will  already  have  remarked  that  the  most  gentle  pressure  of  the 
finger  on  a  key  produces  a  perceptible  alteration  and  modification  in  the 
tone ;  and  that  we  may  play  with  great  power  without  any  excessive  ex- 
ertion, and  without  using  any  unnecessary  and  ridiculous  movements  of 
the  hands,  arms,  shoulders,  or  head.  For,  unhappily,  many,  even  very 
good  pianists,  are  guilty  of  theje  and  similar  contortions  and  grimaca^ 
against  which  I  must  warn  you. 


84  CZERNY'S  letters  to  a   rOUNO  LADT, 

Many,  too,  have  the  detestable  habit,  when  they  wish  to  atrilse  a  ikt4« 
with  peculiar  emphasis,  of  elevating  their  knuckles  so  much  that  the  liftnd 
Beems  to  form  waves,  like  troubled  waters. 

Others  endeavor  to  manifest  their  feelings  by  widely  jerking  out  their 
elbows;  or  they  mark  the  commencement  of  eveiy  bar  by  making  a  low 
bow  with  their  head  and  chest,  as  if  they  were  desirous  of  showing  rever- 
ence to  their  own  playing.  Others,  after  every  shoi-t  note,  suddenly  take 
tip  their  hands  as  far  from  the  keys  as  if  they  had  touched  a  red-hot  iron 
Many,  while  playing,  put  on  a  fierce  and  crabbed  countenance ;  others, 
a^ain,  assume  a  pei-petual  simper,  etc.  One  of  the  worst  faults  is  cany- 
ing  to  excess  the  ritardando  and  accelerando^  so  that  we  are  often  several 
minutes  without  knowing  whether  the  piece  is  written  in  triple  or  in  com- 
mon time.  This  produces  nearly  the  same  effect  as  if  some  one  were  ad- 
dressing us  in  a  strange  and  unintelligible  language. 

To  all  these  faults  we  may  accustom  ourselves,  in  the  zeal  of  practice, 
without  knowing  it ;  and  when,  to  our  mortification,  we  are  made  to  ob- 
Berve  them,  it  is  often  too  late  wholly  to  leave  them  off. 

Do  not  suppose,  however,  that  you  are  to  sit  at  the  piano  as  stiff  and 
cold  as  a  wooden  doll.  Some  graceful  movements  are  necessary  while 
^>laying,  it  is  only  the  excess  that  must  be  avoided. 

When  we  have  to  play  in  the  highest  or  lowest  octave,  a  gentle  in- 
clination of  the  body  is  at  once  necessary  and  appropriate.  When  we 
have  to  play  diflBcult  passages,  chords  stinick  loud  or  short,  or  skips,  the 
hands  are  and  must  be  allowed  a  moderate  degree  of  movement.  As  we 
must  sometimes  look  at  the  notes,  and  sometimes  at  the  hands,  a  slight 
movement  of  the  head  is,  if  not  necessary,  at  least  veiy  excusable.  Still, 
however,  you  should  accustom  yom*self  to  look  rather  at  the  notes  than  at 
the  fingers. 

But  the  elegant  deportment  of  polished  life  must  always  be  transferred 
to  the  art;  and  the  rule  applies,  generally,  "  that  eveiy  movement  which 
conduces  really  and  essentially  to  our  l>etter  playing  is  allowed ;  "  here, 
however,  we  must  avoid  all  that  is  unnecessary  and  superfluous. 

At  present,  it  would  be  too  early  to  direct  your  attention  to  certain 
more  refined  rules  of  expression.  In  the  meantime,  I  beg  of  you  to  ob- 
serve, in  the  sti'ictest  manner,  all  that  each  composer  has  indicated  on 
this  head  in  his  works ;  and  to  try  to  execute  each  piece  in  a  pure  and 
flowing  manner,  and  in  the  time  indicated  by  the  author.  Toward  effect- 
ing this  last  object,  Maelzel's  metronome  will  afford  you  very  gi'eat 
assistance  in  most  modern  compositions. 

The  graces  —  namely,  the  shake,  the  turn,  the  appoggiatura,  etc.  —  ar« 
the  fiowei'S  of  music;  and  the  clear,  con-ect,  and  delicate  execution  of 
tiiem  en  bellishes  and  exalts  eveiy  melody  and  every  passage.    But  whea 


czernt's  letters  to  a  young  ladt.  85 

Ihej  are  played  stiff,  ha?d,  or  unintelligibly,  they  may  rather  be  com 
pared  to  blots  of  ink  or  spots  of  dirt. 

The  shake  is  particularly  important;  and  to  a  pianist  the  elegant, 
equal,  and  rapid  execution  of  it  is  as  much  an  oman-entand  a  duty  as  the 
equal  and  purly  execution  of  the  scales.  In  the  right  hand,  at  least,  it 
ought  to  be  played  alike  well  toith  all  the  fingers.  The  equality  of  the 
shake  can  only  be  attained  by  lifting  up  both  fingers  to  an  equal  height 
and  striking  the  keys  with  equal  force.  You  ought  to  devote  a  few 
minutes  daily  to  this  particular  practice. 

Therefore,  continue  firm  in  your  present  diligent  course,  and  reckoa 
always  on  the  best-meant  couPisel  from  Yours,  etc. 


LETTER  V. 

TWO   MONTHS   LATER.  —  ON   THE   KEYS,  ON  STUDYING  A  PIECE,  AND 
ON  PLAYING   IN  THE   PRESENCE    OF   OTHERS. 

You  are  now  well  acquainted  with  all  the  twenty-four  keys,  and  with 
the  scales  and  chords  belonging  to  them,  and  it  is  with  pleasure  I  learn 
that  you  even  now  daily  play  through  all  the  scales  and  passages  in  them, 
as  diligently  as  you  formerly  did  those  in  the  twelve  major  keys ;  and 
that  you  acknowledge  the  many  advantages  of  these  exercises,  by  which 
also  you  save  yourself  the  labor  of  wading  through  so  many  tedious 
etudes  or  professed  studies. 

One  of  tbfe  most  necessaiy  acquirements  for  a  pianist  is  to  be  equally 
practised  and  ready  in  all  the  keys.  There  are  many  who  are  as  much 
startled  at  a  piece  having  four  or  five  sharps  or  flats  for  its  signature  aa 
though  they  saw  a  spectre.  And  nevei-theless,  to  the  fingers  all  keys  are 
in  reality  of  equal  difficulty ;  for  there~are  as  difficult  compositions  in  C 
major  as  in  C  sharp  major.  Only  that  the  eye  and  the  memory  must  bo 
early  accustomed  to  this  great  number  of  marks  of  transposition. 

As,  in  such  unusual  keys,  the  black  keys  must  be  principally  employed, 
and  as  they  are  narrower  than  the  white  ones,  and  therefore  less  certain 
as  to  the  striking  of  them,  it  is  absolutely  requisite,  on  the  part  of  the 
player,  that  he  should  keep  hiu  hand  particularly  firm,  and  somewhat 
higher  than  usual  over  the  kejs,  and  employ  a  very  decided  touch,  in 
order  to  acquire  the  same  degree  of  certainty  as  on  the  white  keys. 

You  complain  that  the  studying  of  difficult  pieces  still  costs  you  much 
time  and  labor.    There  is  a  certain  remedy  against  this,  which  I  may  caU 


86         czerny's  letters  ro  a  young  laoy. 

the  art  of  studying ,  and  which  I  impart  to  you,  as  far  as  il  can  be  done  i« 

writing. 

There  are  pupils  who  study  such  compositions  attentively  enough,  it  is 
true,  but  so  slow  and  with  such  frequent  interruptions  that  these  pieces 
become  tedious  and  disasrreeable  to  them  before  they  have  half  learned 
them.  Such  pupils  often  take  half  a  year  to  learn  a  few  pieces  tolerably ; 
and  by  this  wasteful  expenditure  of  time  always  remain  in  the  back- 
ground.   . 

Others,  on  the  contrary,  try  to  conquer  everything  by  force;  and 
imagine  that  they  shall  succeed  in  this  by  practising  for  hours,  labori- 
ously indeed,  but  in  an  inattentive  and  thoughtless  manner,  and  by 
hastily  playing  over  all  kinds  of  difficulties  innumerable  times.  Those 
persons  play  till  their  fingers  are  lamed ;  but  how  ?  Confusedly,  over- 
hastily,  and  without  expression ;  or,  what  is  still  worse,  with  a  false  ex- 
pression. 

We  may  escape  all  this  by  keeping  the  right  medium  between  these 
two  ways.  When,  therefore,  you  begin  to  learn  a  new  and  somewhat 
difficult  piece,  you  must  devote  the  first  hours  to  deciphering  the  notes 
strictly  and  correctly,  in  a  slow  time.  You  must  also  fix  upon  the  finger- 
ing to  be  employed,  and  gain  a  general  insight  over  the  whole.  This,  in 
a  single  piece,  can  at  most  requii'e  but  a  few  days.  Then  the  whole  piece 
must  be  played  over  quietly  and  composedly,  but  at  the  same  time  at- 
tentively, and  without  any  distraction  of  ideas,  till  we  are  enabled  to 
execute  it  without  trouble,  and  in  the  exact  time  indicated  by  the  author. 

Single  passages  of  great  difficulty  may  be  practised  apart.  Still,  how- 
ever, they  ought  to  be  often  repeated  in  connection  with  the  rest  of  the 
piece. 

All  this,  too,  may  be  completed  in  a  few  days.  But  now  begins  the 
time  when  we  must  also  learn  to  pla^  it  with  beauty  and  elegathce. 

Now  all  the  marks  of  expression  must  be  observed  with  redoubled  at- 
tention ;  and  we  must  endeavor  to  seize  correctly  on  the  character  of  the 
composition ;  and  to  enforce  it  in  our  performance  according  to  Its  total 
effect. 

To  this  belongs  the  very  important  quality,  that  the  player  should 
know  how  to  listen  properly  to  himself  and  to  judge  of  his  own  perform' 
ance  with  accuracy.  He  who  does  not  possess  this  gift,  is  apt,  in 
practising  alone,  to  spoil  all  that  he  has  acquired  correctly  in  the  pre- 
sence oJ  his  teacher. 

But  1  must  once  more  remind  you  that  we  can  only  study  new  pieces 
quickly  and  well  when  we  have  not  forgotten  those  already  learned 
There  are,  alas !  many  pupils,  (female  pupils  too,)  who  play  only  that 
piece  well  which  they  have  just  been  taught    All  those  acquired  before 


,       czerny's  lei  tees  to  a  toung  ladt.         87 

are  neglected  and  thrown  aside.  Such  pupils  will  nevei  make  very  great 
progress.  For  you  must  own,  that  those  persons  who  play  fifty  ])ieces 
well  are  much  more  clever  than  those  who,  like  a  bird -organ,  can  only 
play  two  or  three  pieces  in  a  tolerable  manner ;  and  that  the  first,  by  a 
proper  employment  of  our  time,  is  very  possible,  I  believe  I  have  already 
«aid  to  you. 

four  worthy  teacher  has  acted  veiy  properly  in  early  accustoming  you 
to  play  occasionally  before  others.  At  first  this,  as  you  write  to  me,  waa 
very  disagreeable  to  you,  and  you  felt  much  frightened  in  so  doing. 
**  But  now,"  say  you,  "  I  think  nothing  of  it ;  nay,  it  generally  gives  me 
great  pleasure,  particularly  when  all  goes  off  well."  And  there  you  are 
quite  right.  To  what  purpose  do  we  learn  but  to  give  pleasure,  not  only 
to  ourselves,  but  also  to  our  beloved  parents  and  our  worthy  friends  ? 
And  assuredly  therc  is  no  higher  satisfaction  than  in  being  able  to  dis- 
tinguish one's  self  before  a  large  company,  and  in  receiving  an  honorable 
acknowledgment  of  one's  diligence  and  talent. 

But,  to  bring  matters  to  this  point,  we  must  be  thoroughly  sure  of  our 
business ;  for  want  of  success  is,  on  the  contrary,  as  vexatious  as  it  is 
tormenting  and  disgraceful.  Above  all,  you  must  select,  for  this  purpose, 
such  compositions  as  are  fully  within  your  powers,  and  respecting  the 
good  effect  of  which  you  can  entertain  no  doubt.  Every  difficult  piece 
becomes  doubly  difficult  when  we  play  it  before  others,  because  the 
natural  diffidence  of  the  performer  impedes  the' free  development  of  hla 
abilities. 

Many  half-formed  players  imagine  that  everything  will  be  right  if 
they  do  but  step  forward  at  once  with  a  difficult  piece  by  some  celebrated 
composer.  But  by  this  means  they  neither  do  honor  to  the  composition 
nor  to  themselves ;  but  merely  expose  themselves  to  the  danger  of  excit- 
ing emiuif  and,  at  best,  of  being  applauded  from  politeness  and  compas- 
sion, and  therefore  of  being  blamed  and  laughed  at  behind  their  backs. 
For,  even  with  regard  to  amateurs,  persons  avail  themselves  of  the  right 
to  blame  when  they  have  not  received  any  pleasure;  and  in  fact,  who  can 
take  their  doing  so  in  bad  part  ? 

Many  otherwise  vci-j-  good  j  layers  have  in  this  manner,  by  an  unsuit- 
able choice  of  pieces,  lost  both  their  musical  reputation  and  aU  futm^ 
confidence  in  themselves. 

When  playing  before  others,  you  should  particularly  endeavor  to  ex- 
ecute 5'our  welUstudied  piece  with  tranquility  and  se'if-possession,  with- 
out hurrying,  without  allowing  your  ideas  to  wander,  &nd  more  especially 
toithout  coming  to  a  standstill;  for  this  last  is  the  mobk  ^2pleasant  fault 
Irhich  we  can  commit  before  an  audience. 

B«fore  you  commence,  the  fingsrs  must  be  kept  quite  warm ;  you  must 


88    czerny's  letters  to  a  young  lady. 

Avoid  any  inconvenient  mode  of  dress;  and  you  should,  if  possibly 
always  play  on  a  piano-forte  with  which  you  are  well  acquainted ;  for  as 
instrument  of  which  the  touch  is  much  lighter  or  much  heavier  than  that 
which  one  is  accustomed  to,  may  veiy  much  confuse  a  player. 

But,  besides  professedly  playing  before  others,  it  may  often  happen 
that  you  are  suddenly  required,  in  the  company  of  intimate  acquaint- 
aiices,  to  play  over  some  trifle  to  them. 

It  is  very  necessary,  therefore,  that  you  should  study  and  cemriit  to 
memor}^  a  good  number  of  little,  easy,  but  tasteful  pieces ;  so  that,  on 
Bucli  occasions,  you  may  be  able  to  play  them  by  heart;  for  it  appears 
rather  childish  to  be  obliged,  for  every  trifle,  to  turn  over  one's  collec- 
tion of  music ;  or,  when  in  a  strange  place,  to  be  always  obliged  to  draw 
back  with  an  excuse  **  that  you  cannot  play  anything  by  heart. " 

I  have  no  doubt,  my  dear  Miss,  that  you  have  been  so  situated ;  is  it 
not  so  ? 

For  this  purpose,  short  rondos,  pretty  airs  with  variations,  melodies 
from  operas,  nay,  even  dance-tunes,  waltzes,  quadrilles,  marches,  etc., 
etc.,  are  perfectly  suitable;  for  everything  does  credit  to  the  player 
which  is  well  played. 

As  it  is  very  proper  to  let  a  little  prelude  precede  any  musical  compo- 
sition, you  must  have  by  heart  a  number  of  this  sort  of  pieces,  in  all  the 
keys. 

The  playing  before  others  has  also  the  great  advantage  that  it  compels 
one  to  study  with  unusual  zeal ;  for  the  idea  that  we  must  play  before  an 
audience  spurs  us  on  to  a  much  greater  measure  of  diligence  than  if  we 
play  only  to  ourselves  or  to  four  senseless  walls. 

I  shall  therefore  close  this  letter  with  the  request  that  you  will  not 
neglect  any  pi-oper  occasion  of  exhibiting  your  fine  talent  to  the  world ; 
and  I  remain,  Yours,  etc. 


LETTER  VI. 

ON    THE    SELECTON    OP    COMPOSITIONS   MOST    SUITABLE   FOB   EACH 
PIANIST. 

You  wish  to  know,  my  dear  Miss,  what  compositions  you  are  chiefly 
to  play,  so  that  you  may  learn  all  that  are  jsood,  as  far  as  that  is  possible, 
and  that  too  in  a  natural  and  and  progressive  order ;  and  it  does  credit  to 
your  taste  that  you  are  desirous  not  only  of  studying  the  favorite  piecei 
of  the  present  day,  but  Lkewise  the  most  striking  works  of  tLe  earlier  ao^ 
more  ancient  masters. 


CZERNY'S   LETTEItrf   TO   A   TOUNG   LADY.  89 

Your  worthy  teswjher  has  al^'eady  i commended  to  you  the  admirablo 
■tudic8  of  Bertini,  Ci*amer,  etc.,  as  also  my  Grand  Scale  Exercises  ;  and 
I  cannot  but  rejoice  that  you  have  also  had  the  goodness  and  patience  to 
occupy  yourself  with  some  other  of  my  own  contributions  toward  further- 
ing volubility  of  execution  —  such  as  my  School  for  Virtuosi  —  of  Graces 
and  Embellishments  —  of  Legato  and  Staccato y  etc. 

The  studies  just  named  have,  for  the  greater  part,  a  merely  practical 
aim ;  but,  in  the  present  day,  there  frequently  appear,  under  the  same 
titles,  grand  and  difficult  pieces  by  Chopin,  Ililler,  Hummel,  Henselt, 
Kalkbrenncr,  Liszt,  Potter,  Thalberg,  and  many  others,  which  I  shall 
recommend  you  to  study  at  some  future  time,  when  your  execution  shall 
have  reached  a  very  high  degree  of  excellence ;  for  most  of  these  pieces 
are  splendid  bravura  compositions,  intended  rather  for  highly- cultivated 
players  and  for  public  performances  than  for  the  instruction  of  those 
who,  like  yourself,  have  still  to  climb  many  steps  to  arrive  at  perfection. 
Useful  as  these  studies  are,  in  general,  we  must  not  lose  sight  of  the  fact 
that  every  piece,  be  it  a  sonata,  a  rondo,  an  air  with  variations,  a  fantasia, 
etc.,  is  also  a  study,  in  its  way ;  and  that,  for  example,  we  may  draw 
from  a  concerto,  or  a  set  of  brilliant  variations,  equally  as  much  ad- 
vantage in  regard  to  rapidity  of  finger,  or  from  a  sentimental  adagio 
equally  as  much  improvement  in  regard  to  expression,  as  we  can  from 
the  practise  of  any  set  of  studies  whatever. 

The  authors  which  you  have  chiefly  studied  as  yet  were  well  adapted  to 
the  pui-pose;  for  at  first,  pupils  require  such  compositions  as  combine 
pleasing  and  intelligible  melody  and  modern  taste  with  passages  naturally 
calculated  for  preserving  a  fine  position  of  the  hands ;  as,  for  example,  the 
easier  works  of  Bertini,  Herz,  Hunten,  Kalkbrenner,  Moschelles,  etc.,  etc. 

But  you  have  now  arrived  at  an  epoch  when  the  more  difficult  works 
ol  the  above-named  masters,  as  also  of  Hummel,  Cramer,  Dusseck,  Ries, 
Steibelt,  and  the  easier  ones  of  Beethoven,  are  very  suitable  and  proper 
for  you . 

In  the  course  of  the  ensuing  year,  with  the  same  industry  and  zeal, 
you  may  easily  arrive  at  that  degree  of  advancement  that  you  will  bo 
enabled  to  study  by  yourself,  and  with  the  best  results,  the  difficult  worki 
of  the  present  as  well  as  of  the  past  times ;  such  as  those  of  Chopin, 
Thalberg,  Liszt,  Field,  etc.,  as  also  the  concertos  of  Hummel,  Kalkbi*en- 
ner,  and  Mosclieles,  and,  lastly,  the  best  compositions  of  Mozart,  Clementi, 
Beethoven,  Cramer,  Dusseck,  Prince  Louis  Ferdinand  of  Prussia,  etc. 

In  the  choice  of  musical  pieces,  we  should  always  Dear  in  mind  the 
following  points : 

1st,  That  we  ought  always  to  proceed  from  the  more  easy  to  Hie  mort 
difficult  as  to  execution. 


90         czerny's  letters  to  a  young  LADr. 

2ndly,  That,  as  far  as  possible,  we  should  make  ourselves  aequfiintel 
with  the  works  of  all  the  great  composers,  and  not  by  anj  means  tie  our 
lelves  down  to  any  favorite  author. 

Zdly»  That,  by  degrees,  we  should  also  thoroughly  learn  the  classical 
and  truly  valuable  works  of  the  earlier  composers. 

Every  distinguished  composer  requires  to  be  played  in  a  style  peculiar 
to  himself.  With  many,  there  predominates  a  brilliant,  showy,  and 
strongly  marked  manner ;  with  others,  an  expressive,  quiet,  connected, 
and  gentle  style  of  playing  is  most  generally  called  for ;  others,  again, 
require  a  characteristic,  impassioned,  or  even  fantastic  or  humorous  ex* 
pression ;  and,  in  many  compositions,  a  tender,  warm,  playful,  and  pleas- 
ing mode  of  execution  is  most  suitable.  Lastly,  there  arc  pieces  which 
include  all  these  different  styles,  and  which  therefore  compel  the  player  to 
adopt  corresponding  alterations  of  manner  in  his  performance.  Thus» 
for  example,  Hummel's  compositions  require  an  extraordinaiy  and  purl^ 
like  mode  of  execution,  which  is  produced  by  a  light  dropping  of  the 
keys,  as  I  have  explained  to  you  in  my  Pianoforte  School.  In  Beetho- 
ven's works,  this  style  will  seldom  be  suitable ;  as,  in  them,  great  charac- 
teristic energy,  deep  feeling,  often  capricious  humor,  and  a  sometimes 
veiy  legatOf  and  at  others  a  very  marked  and  emphatic  style  of  playing 
are  requisite. 

A  piece  which  is  played  too  fast  or  too  slow  loses  all  its  effect,  and  be 
comes  quite  disfigured.  Where  the  time  is  not  marked  accoixling  to 
Maelzel's  metronome,  the  player  must  look  at  the  Italian  words  which 
indicate  the  degree  of  movement,  as,  allegro^  moderator  presto^  etc.,  and 
likewise  to  the  character  of  the  composition,  and  gradually  learn  by  expe- 
rience to  know  their  real  significations. 

No  less  important  is  the  proper  mode  of  treating  the  pedals.  By  a 
proper  employment  of  the ybr^e,  or  damper  pedal,  the  player  is  enabled  to 
produce  effects  which  would  seem  to  require  that  he  should  have  two 
pairs  of  hands  at  his  command.  But,  used  at  an  improper  time,  this  pedal 
pauses  an  unpleasant  and  unintelligible  noise,  which  falls  on  the  ear  ai 
disagreeably  as  writing  on  wet  paper  falls  on  the  eye. 

I  have  already  explained  how  important  to  the  pupil  is  a  gradual  and 
easy  progression,  as  to  difficulty,  in  the  selection  of  pieces  intended  for 
him ;  and  I  shall  now  add  a  few  words  more  on  this  head.  Eveiy  com- 
poser, as  well  as  ever  player,  founds  his  art  and  his  science  on  what  his 
predecessors  have  already  done ;  adding  to  that  the  invention  of  his  own 
talent.  By  these  natural  steps  in  advance,  it  is  evident  that  the  compo- 
sitions of  thepresen  distinguished  pianists  are  in  many  respects  much  mora 
difficv  It  than  those  of  times  gone  by ;  and  that  whoever  desires  to  study  them 


CZERNY'S  LLTTERS  10  A  T0U5G   LADY.  91 

must  alreadj  possess  great  knowledge  3f  music,  and  a  yery  considerabK 
degree  of  executiop. 

MaDj  pupils,  bowerer,  as  soon  as  their  fingers  liave  acquired  some 
littJe  facility,  are  led  astraj  by  the  charms  of  novelty,  and  run  into  th€ 
error  of  attacking  the  most  diificult  coropositions.  Not  a  few  who  caa 
hardly  play  the  scales  in  a  decent  manner,  and  who  ought  to  practise  fof 
years  studies  and  easy  and  appropriate  pieces,  hare  the  presumption  te 
attempt  Hummers  concertos  or  lYna^^herg' 9  fantasias. 

The  natural  result  of  this  over-baste  is,  that  such  players,  by  omitting 
the  requisite  preparatory  studies,  always  continue  impe-rfect,  lose  much 
time,  and  are  at  last  unable  to  execute  either  difficult  or  easy  pieces  in  a 
creditable  manner. 

This  is  the  true  cause  why,  although  so  many  talented  young  folks  de- 
Tote  themselves  to  the  piano-forte,  we  are  still  not  so  over  and  above  rich 
in  good  players,  as,  beyond  all  doubt,  was  the  ease  formerly  j  and  why 
BO  many,  with  the  best  dispositions,  and  often  with  enennous  industry^ 
still  remain  but  mediocre  and  indifferent  performers. 

Many  other  pupils  run  into  the  error  of  attempting  to  decide  on  the 
merits  of  a  composition  before  they  are  able  to  play  it  properly.  From 
this  it  happens  that  many  excellent  pieces  appear  contemptible  to  them, 
while  the  lault  lies  in  their  playing  them  in  a  stumbling,  incorrect,  and 
unconnected  manner,  often  coming  to  a  standstiD  on  false  and  discor- 
dant harmonies,  missing  the  time,  etc.,  etc. 

You  bare  no  doubt  frequently  been  placed  in  this  situation,  and  per- 
haps you  have  sometimes  impatiently  thrown  aside  a  piece  which  did  not 
much  promise  to  please  you.  In  this  manner  you  must,  in  the  sequel, 
have  often  lost  that  exquisite  enjoyment  which  the  ingenious  and  elaborate 
works  of  the  great  masters  offer  to  you,  if  you  have  the  patience  to  over- 
come  the  difficulties  generally  inseparable  from  them. 

Here  more  particularly  belong  compositions  in  what  is  called  the  strict 
wtyle;  as,  for  example,  the  works  of  Handel,  Bach,  and  other  masters  of 
this  stamp.  For  the  execution  of  such  pieces,  generally  written  in  ser- 
cral  parts,  and  in  the  fugue  style,  and  of  such  single  passages  in  the  same 
»tyle  as  we  often  meet  with  in  the  most  modem  compositions,  there  are 
required  a  strict  legato f  and  a  very  firm  and  equal  touch ;  and  also  a  cleaf 
enunciation  of  each  single  part ;  and  for  the  attainment  of  aB  this,  the 
employment  of  a  peculiar  mode  of  fingering,  which,  in  general,  deviates 
very  much  from  the  usual  one,  and  which  chiefly  consists  in  quickly  and 
adroitly  substituting  one  finger  for  another  on  the  same  key,  while  it 
is  held  down,  and  without  sounding  it  anew. 

By  this  substitution,  the  five  fingers  are  in  a  manner  multiplied  ad 
•»|^m^;i,»nd  we  are  enabled  to  play  each  of  tbe  four  parts  of  whick 


92         czerny's  letters  to  a  young  ladt. 

•uch  passages  in  general  consist  as  smoothly,  connev/tcdly,  and  in  M 
singing  a  manner  as  though  we  had  so  many  hands ! 

I  have  now  once  more  put  your  patience  to  the  test.  But  I  beg  of  you 
to  recollect  that  much  of  what  I  now  write  to  you  is  calculated  for  a  fu- 
ture period ;  and  therefore,  that  reading  over  these  remarks  by  and  by 
will  prove  of  still  more  particular  service  to  you. 

In  the  meanwhile,  I  subscribe  myself,  Yours,  etc 


Chapters  VII.,  VIII.,  and  EX.  give  a  short  treatise  on  thorough-base, 

— •— 

LETTER  X. 

ON  EXTEMPORANEOUS  PERFORMANCE. 

You  are  aware  that  music  is  in  some  measure  a  species  of  language, 
by  which  may  be  expressed  those  passions  and  feelings  with  which  th« 
mind  is  burdened  or  affected.  It  is  also  known  to  you  that  we  are  able 
to  play  on  any  musical  instrument,  and  more  particularly  on  the  piano- 
forte, much  which  has  neither  been  written  down  before,  nor  previously 
prepared  or  studied,  but  which  is  merely  the  fruit  of  a  momentary  and 
accidental  inspiration.    This  is  called  extemporizing. 

Such  extemporaneous  performances  cannot  naturally,  and  indeed, 
ought  not  to  assume  the  strict  forms  of  written  compositions  ;  nay,  the 
very  freedom  and  inartificial  nature  of  such  productions  give  them  a 
peculiar  charm ;  and  many  celebrated  masters,  such  as  Beethoven  and 
Hummel,  have  particularly  distinguished  themselves  in  this  art. 

Although,  for  this  purpose,  and  indeed  for  music  in  general,  a  certain 
■hare  of  natural  talent  is  required,  still  extemporizing  may  be  studied 
an  I  practised  according  to  certain  principles ;  and  I  am  convinced  that 
anybody  who  has  attained  to  more  than  moderate  skill  in  playing,  is 
also  capable,  at  least  to  a  certain  degree,  of  acquiring  the  art  of  playing 
extemporaneously.  But  for  this  pui*pose  it  is  requisite  to  commence  this 
sort  of  practise  at  an  early  period,  (which,  alas !  most  players  neglect,) 
«id  that  we  should  learn  to  indefatigably  apply  the  experience  which  we 
have  gained  by  studying  the  compositions  of  others  to  our  own  extern* 
poraneous  performances. 

At  present,  as  your  execution  is  so  consideraoly  formed,  and  as  yon 
arc  beginning  to  make  a  progress  in  thorough-base,  you  should  attempt^ 


czebny's  letters  to  a  young  lady.         93 

■ometimes  when  alone,  sometimes  in  the  presence  of  your  teacher,  to 
connect  together  easy  chords,  short  melodies,  passages,  scales,  ai-peg- 
gioed  chords,  or,  which  is  much  better,  leave  it  to  your  fingers  to  effect 
this  connection,  according  to  their  will  and  pleasure ;  for  extemporizing 
possesses  this  singular  and  puzzling  property,  that  reflection  and  atten* 
tion  are  of  scarcely  any  service  in  the  matter.  We  must  leave  nearly 
eveiything  to  the  fingers  and  to  chance. 

At  first  this  will  appear  difficult  to  you;  what  you  play  will  seem 
unconnected,  or  even  incorrect ;  you  will  lose  that  courage  and  confi- 
dence in  yourself  which  are  so  necessaiy  to  this  pui'pose.  But  if  you  do 
not  allow  yourself  to  be  frightened  by  this,  and  will  repeat  these 
attempts  day  after  day,  you  will  perceive  that  your  powers  will  be- 
come more  developed  from  week  to  week ;  and  with  a  more  extended 
knowledge  of  thorough-base,  you  will  soon  learn  to  avoid  faults  against 
harmony. 

At  first  you  must  attempt  to  extemporize  oaly  short  movements,  some- 
what similar  to  preludes,  or  cadences.  By  degrees  you  must  endeavor  to 
extend  these,  by  interweaving  longer  melodies,  brilliant  passages,  arpeg- 
gioed  chords,  etc.  If,  in  default  of  ideas  of  your  own  readily  offering 
themselves,  you  should  avail  yourself  of  such  as  you  have  learned  from 
other  compositions,  such  assistance  is  always  very  excusable. 

The  scale-passages,  and  the  chords  of  transition  which  connect  them, 
are  a  good  means  of  filling  up  any  little  chasm  when  no  melodious  ideas 
happen  to  strike  the  player. 

You  know  that  all  music  may  be  reduced  to  simple  chords.  Just  so 
simple  chords  conversely  sei've  as  the  groundwork  on  which  to  invent 
and  play  all  sorts  of  melodies,  passages,  skips,  embellishments,  etc.. 

When  you  have  devoted  a  considerable  time  to  a  rational  practise  in 
the  way  here  pointed  out,  you  will  feel  astonished  at  the  great  improve- 
ment, and  the  variety  of  applications  of  which  the  talent  for  extempo- 
rizing is  capable. 

You  will  find  that  nearly  all  the  forms  usual  in  composition  ai*e  appli- 
cable to  extempore  playing.     Thus : 

We  may  extemporize  variations  on  themes  chosen  by  ourselves  or 
given  for  the  pui-pose. 

We  may  put  together  very  interesting  potpourris,  or  fantasias  from  fa- 
Torite  motives,  combining  them  with  brilliant  passages,  so  as  to  form  a 
striking  ensemble. 

We  may  also  distinguish  ourselves  by  extemporizing  in  strict  four  part 
composition,  or  in  the  fugue  style,  etc.,  etc. 

But  for  all  this  are  required : 

Great  and  highly  cultivated  facility  and  rapidity  of  finger,  as  well  as  a 


94  CZERNT'S  letters  to   a  young  1.ADT. 

perfect  command  of  all  the  keys,  and  of  every  mechanical  difficulty ;  for 
you  may  easily  imagine  that  the  happiest  talent  avails  nothing  when  the 
fingers  are  incapable  of  following  and  obeying  its  dictates.  Besides  this, 
it  only  requires  an  intimate  acquaintance  with  the  compositions  of  all  the 
great  composers ;  for  only  by  this  means  can  one's  own  talent  be  awak 
ened,  cultivated,  and  strengthened,  so  as  to  enable  us  to  produce  music 
of  our  own  invention. 

To  this,  as  you  know,  must  be  added  a  thorough  knowledge  of  harmo- 
ny, and  lastly  —  as  I  repeat  once  more  —  our  own  indefatigable  and 
rationally  applied  industiy. 

Therefore,  exercise  yourself  cheerfully  and  courageously  in  this  vei7 
honorable  branch  of  the  art.  If  the  labor  is  great,  the  pleasure  and 
reward  which  you  may  gain  thereby  are  still  greater. 

1  now  close  the  correspondence  with  which  I  have  so  long  troubled 
you,  and  look  with  satisfaction  toward  the  moment  in  which  I  shall  ba 
enabled,  in  person,  to  admire  the  unquestionably  perfect  cultivation  of 
your  Ycrj  distinguished  talent. 

^  ^^'Tu  etc,  C.  CzsssT. 


RETURN   EDUCATION -PSYCHOLOGY  LIBRARY 

TO— ^-  2600  Tolman  Hall  642-4209 


LOAN  PERIOD  1 
"    1  MONTH 


ALL  BOOKS  MAY  BE  RECALLED  AFTER  7  DAYS 

2- hour  books  must  be  renewed  in  person 

Return  to  desk  from  which  borrowed 

DUE  AS  STAMPED  BELOW 


wrrr 


f?. '■•  :;  i;,y2  9'eo 


SEMESTER  LOAN 


DEC  20  1983 


SUBJECT  lO  KtCA 


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RECn  RFC  1  8  '83  -12 


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UNIVERSITY  OF  CALIFORNIA,  BERKELEY 
FORAANO.  DDIO,  10m,  11/78       BERKELEY,  CA  94720 


YB  35637 

Chord  Music,  and  How  to  Play  It, 

ON  THE  PIANOOR  ORGAN. 

When  one  plays,  on  the  piano,  the  letters  C,  D,  E,  F,  G,  A,  B,  C, 
that  constitutes  a  Scale.  But  if  one  plays,  skipping  every  other 
letter,  as  G — B — D — F — A,  that  is  an  Arpeggio ;  and  if  one  plays 
three  or  more  letters  of  an  Arpeggio  at  once,  that  makes  a  Chord; 
so  called  because  the  letters  chord  well,  or  sound  well  together. 
If  we  play  three  of  these  letters  at  once,  that  makes  a  Triad,  G  B. 
D,  or  B  D  F,  or  D  F  A,  are  Triads.  If  we  play  four  letters  at  once, 
as  G  B  D  F,  that  is  a  Chord  of  the  Seventh;  and  if  we  play  five 
letters  at  once,  as  G  B  D  F  A,  that  is  a  Chord  of  the  Seventh  and 


A] 
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